THE  ART  INSTITUTE  OF 
CHICAGO  CATALOGUE 
'of  A  MEMORIAL  EXHIBI¬ 
TION  of  JAPANESE  COLOR 
PRINTS  from  the  CLARENCE 
BUCKINGHAM  COLLEC¬ 
TION  •  JANUARY  12  TO 
FEBRUARY  21,  1915. 


Digitized  by  the  Internet  Archive 
in  2019  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/catalogueofmemorOOarti 


MORONOBU 

No.  4.  Court  lady  standing  under  a  plum  tree 


THE  ART  INSTITUTE  OF  CHICAGO 


CATALOGUE 

OF  A  MEMORIAL  EXHIBITION  OF 

JAPANESE  COLOR  PRINTS 

FROM  THE  COLLECTION  OF  THE  LATE 

CLARENCE  BUCKINGHAM 


WITH  NOTES  EXPLANATORY 
AND  DESCRIPTIVE  AND  AN 
INTRODUCTORY  ESSAY  by 

FREDERICK  WILLIAM  GOOKIN 


CHICAGO 

January  12  to  February  21,  1915 


THE  ART  INSTITUTE  OF  CHICAGO 
DEPARTMENT  OF  PRINTS 
Committee:  Wallace  L.  DeWolf,  Kenneth  S.  Goodman, 
Thomas  E.  Donnelley. 

Assistant  in  Charge  :  Kathryn  W.  McGovern 


•ir  i*  c 


CLARENCE  BUCKINGHAM 


On  the  twenty-eighth  day  of  August,  nineteen  hundred  and 
thirteen,  the  Trustees  of  the  Art  Institute  lost  by  death  one  of  their 
most  highly  esteemed  associates,  Clarence  Buckingham.  He  was  born 
in  Zanesville,  Ohio,  on  the  second  day  of  November,  eighteen  hundred 
and  fifty-four,  but  spent  all  save  three  years  of  his  life  in  Chicago. 

He  was  attached  to  the  City  and  was  one  of  its  useful  citizens. 
He  gave  freely  of  his  time  and  energy  to  the  encouragement  of  its  wel¬ 
fare.  This  he  did  in  such  a  quiet,  unassuming  way  that  comparatively 
few  of  his  fellow  citizens  were  aware  of  his  broad  sympathies.  As  a 
business  man  he  was  noted  for  his  sagacity  and  integrity,  and  was 
called  upon  to  serve  as  a  Director  in  many  corporations  of  importance 
in  the  financial  world.  He  was  greatly  interested  in  the  welfare  of  the 
children  of  the  community  and  took  an  active  part  in  the  establishment 
of  the  Public  Playgrounds  and  other  institutions  for  their  pleasure  and 
development.  He  was  a  staunch  friend  of  the  University  of  Chicago 
Settlement  and  gave  generously  for  the  support  of  its  good  work.  He 
devoted  much  time  to  the  Home  for  Old  Men  on  Garfield  Boulevard. 
As  a  Trustee  of  the  Glenwood  School  for  Boys  he  was  one  of  its 
active  promoters. 

He  was  a  lover  of  the  Fine  Arts  and  devoted  to  the  advance¬ 
ment  of  the  artistic  life  of  Chicago.  For  thirty  years  he  was  a 
Governing  Member  of  the  Art  Institute,  and  served  it  faithfully  as  one 
of  its  Trustees  for  more  than  eleven  years.  Here  his  fellow  Trustees 
soon  recognized  the  value  of  his  cheerful  and  animated  presence,  his 
quiet  and  sane  judgment.  He  was  a  zealous  supporter  of  every  branch 
of  the  varied  work  of  the  Art  Institute,  and  enriched  its  Museum  by 
repeated  gifts  of  money,  paintings,  etchings  and  Japanese  prints.  He 
was  a  man  of  rare  artistic  taste  and  for  many  years  found  his  greatest 
pleasure  in  bringing  together  the  remarkable  collection  of  etchings  and 
Japanese  prints  that  is  now  placed  on  exhibition  for  the  first  time. 
To  his  intimate  friends  this  collection  is  a  living  witness  of  his  infinite 
patience  and  loving  care,  the  result  of  which  is  visible  in  the  quality  of 
the  prints  hung  upon  these  walls. 


INTRODUCTION 


The  rise  of  the  Ukiyo-e  or  Popular  School  of  Japanese  art  was  in 
the  nature  of  a  response  to  a  widespread  need.  It  was  a  direct  out¬ 
come  of  the  improved  condition  of  the  common  people  under  the 
peaceful  regime  of  the  Tokugawa  Shoguns.  As  the  artizans  and 
tradesmen  prospered,  life  became  freer,  places  of  amusement  multi¬ 
plied,  the  streets  were  filled  with  musicians,  story-tellers  (hanashiki), 
jugglers,  and  other  itinerant  entertainers,  frequent  fetes  were  held 
in  the  temple  compounds  and  in  the  streets  of  the  Yoshiwara,  and 
the  theatres  were  daily  crowded  to  their  full  capacity.  To  satisfy  the 
aesthetic  craving  of  the  people  leading  this  gay  life  something  other 
than  the  dignified  and  refined  works  of  the  classic  painters  was  re¬ 
quired.  At  first  the  paintings  made  in  response  to  the  popular  de¬ 
mand  were  in  feeling  very  much  like  the  older  works,  though  the  sub¬ 
jects  were  taken  from  the  everyday  life  of  the  people  and  in  conse¬ 
quence  they  were  called  Ukiyo-e  or  pictures  of  the  passing  world. 
This  was  not  a  new  term:  it  was  first  applied  to  the  paintings  of 
Iwasa  Matahei,  an  artist  of  aristocratic  birth  who  lived  at  Fukui  in 
the  province  of  Echizen,  and  whose  output  was  almost  entirely  ab¬ 
sorbed  by  his  friend  and  patron  Matsudaira  Tadamasa,  daimyo  of 
Fukui,  and  by  the  Shogun  Tokugawa  Iyemitsu,  who  was  also  a 
great  admirer  of  his  work. 

Nothing  could  be  further  from  a  popular  art  than  the  paintings 
of  Matahei  despite  the  character  of  their  subjects  and  the  novelty  of 
their  style,  which,  though  based  upon  the  traditions  of  the  Tosa  school 
with  some  suffusion  of  Kano  methods,  was  peculiarly  his  own.  Only 
in  a  pale  reflection  which  lacked  the  vivifying  touch  that  his  hand 
alone  could  give,  was  his  style  spread  by  his  sons  and  followers  and 
so  made  known  outside  of  the  extremely  narrow  circle  of  those  for 
whom  he  worked.  Not  until  Hishikawa  Moronobu  began  to  design 
picture  books  ( ehon )  and  single-sheet  prints  to  be  sold  in  the  streets 


of  Edo  was  there  any  intelligent  effort  made  to  supply  the  demand 
for  an  art  of  the  people.  At  the  village  of  Otsu  near  Kyoto  an 
obscure  artist  named  Matahei  painted  crude  caricatures  known  as 
Otsuye  which  were  sold  for  the  merest  trifle  to  travellers,  but  these 
were  not  of  enough  importance  to  call  for  more  than  passing  men¬ 
tion.  Moronobu’s  illustrated  books,  however,  the  first  of  which  so 
far  as  known  was  published  in  1659,  and  his  single-sheet  prints  that 
began  to  be  issued  only  a  few  years  later,  had  wide  circulation  and 
inaugurated  a  movement  which  soon  took  form  as  the  Ukiyo-e  ryu, 
and  in  the  course  of  the  next  two  hundred  years  brought  forth  many 
artists  of  ability  including  some  of  the  world’s  great  masters,  and 
an  output  of  paintings  and  of  printed  pictures,  extraordinary  both  in 
volume  and  in  quality. 

Moronobu  based  his  style  upon  that  of  the  Tosa  masters  and  he 
seems  to  have  considered  himself  as  their  successor,  rather  than  the 
founder  of  a  new  school.  And  a  similar  view  in  regard  to  their 
work  appears  to  have  been  held  by  the  other  leading  Ukiyo-e  artists 
until  the  middle  of  the  eighteenth  century,  as  the  frequent  use  of 
the  signature  Yamato  Eshi — Japanese  artist — attests.  Moronobu’s 
earliest  single-sheet  prints  were  issued  as  nearly  as  can  be  ascertained, 
about  1670.  They  were  impressions  in  black  from  one  block  only 
and  are  known  as  sumi-ye — sumi  being  the  Japanese  name  for  Chinese 
ink  (commonly  known  as  India  ink).  Almost  from  the  first  a  part 
of  the  edition  appears  to  have  been  colored  by  hand.  The  earliest 
style  of  coloring  was  a  few  touches  of  yellow  green  with  perhaps 
yellow  or  red.  Later  quite  elaborate  coloring  is  found,  but  it  may 
have  been  applied  by  purchasers  of  the  prints. 

Moronobu  had  two  sons  who  were  artists  of  ability,  and  a  num¬ 
ber  of  pupils  and  followers.  All  of  these  were  painters,  and  only 
rarely  print  designers.  The  development  of  the  print  as  an  exponent 
of  Ukiyo-e  art  was  taken  up  by  the  artists  of  the  Torii  line  in 
the  last  decade  of  the  seventeenth  century,  and  they  gave  it  an  im¬ 
petus  that  carried  it  forward  in  a  long  and  triumphant  progress.  The 
craze  of  the  people  for  the  theatre,  their  unbounded  admiration  for 
their  favorite  actors,  and  their  desire  to  have  portraits  of  them  in 
their  most  admired  roles  was  an  important  factor  in  this  develop- 


—6— 


ment.  Torii  Kiyonobu  designed  small  prints  of  actors  which  were 
cheaply  colored  by  hand,  and,  in  spite  of  the  crudity  of  his  earliest 
efforts,  were  eagerly  bought.  He  was  the  official  artist  for  all  the 
leading  theatres  in  Edo,  and  the  proprietors,  quick  to  see  the  adver¬ 
tising  value  of  the  prints,  placed  every  facility  at  his  command  that 
could  ensure  accuracy  in  all  essential  details. 

At  the  beginning  of  the  eighteenth  century  a  new  style  of  color¬ 
ing  in  which  tan  (red  lead)  predominated,  was  introduced  by  Ki¬ 
yonobu,  and  he  began  to  design  large  prints  which  could  be  mounted 
as  kakemono.  Other  artists  also  began  to  design  prints.  Kiyonobu’s 
son  Kiyomasu  early  came  into  the  field,  and  not  long  after  prints  by 
Okumura  Masanobu  began  to  appear.  All  three  of  these  men  were 
artists  of  distinguished  ability.  Their  prints  were  broadly  treated 
and  are  characterized  by  a  largeness  of  handling  and  a  feeling  for 
strong  yet  expressive  line  that  we  miss  in  the  more  elaborate  and 
sumptuous  works  of  the  later  periods.  The  tan-ye  style  of  coloring 
was  soon  succeeded  by  the  kurenai-ye  in  which  the  much  more  beauti¬ 
ful  beni  red  predominated;  and  then  in  response  to  a  demand  for 
more  careful  and  effective  coloring  a  style  was  devised  in  which  a 
little  lacquer  (urushi)  was  mixed  with  the  black,  giving  it  a  rich 
velvety  effect,  and  metallic  powder  was  blown  upon  the  color  while 
wet.  These  prints  were  called  urushi-ye,  and  this  name  continued 
to  be  given  them  when  fish  glue  was  substituted  for  the  lacquer. 

It  is  inconceivable  that  the  idea  of  applying  color  by  printing 
from  wood  blocks  should  not  have  occurred  to  any  one  before  the 
year  1742.  Though  color  prints  from  wood  blocks  had  been  made 
in  China  more  than  fifty  years  earlier,  knowledge  of  the  methods  by 
which  they  were  produced  does  not  seem  to  have  been  carried  to 
Japan.  Apparently  the  technical  problem  long  defied  solution.  Oku¬ 
mura  Masanobu  must  on  his  own  showing,  now  be  regarded  as  the 
man  who  finally  discovered  a  practical  method  of  color  printing. 
Being  a  publisher  as  well  as  an  artist  he  was  naturally  alive  to  the 
economic  advantage  of  printing  the  color  instead  of  applying  it  by 
hand :  being  an  artist  he  was  also  quick  to  perceive  that  it  would 
open  out  a  wide  range  of  charming  effects  not  attainable  otherwise. 
Possibly  it  was  the  trick  of  using  rice  paste  to  keep  the  colors  from  run- 


-7- 


ning  that  solved  the  problem.  But  this  required  that  the  printing 
be  done  on  damp  paper  which  could  only  with  great  difficulty  be 
kept  from  stretching  or  shrinking  so  as  to  spoil  the  result;  and  nearly 
twenty  years  elapsed  before  a  practical  method  was  devised  of  printing 
more  than  two  colors  and  the  black  outline  and  keeping  the  impres¬ 
sions  in  register. 

In  1746  (Enkyo  3)  the  first  edition  of  “Mincho  Seido  Gayen,” 
by  Ooka  Shumboku  was  published,  with  illustrations  printed  in  sev¬ 
eral  colors.  As  this  does  not  appear  to  have  been  followed  by  other 
books  with  similar  illustrations,  or  by  single  sheet  prints  in  more  than 
two  colors,  it  must  be  regarded  as  in  the  nature  of  an  experiment.  The 
rarity  of  the  first  edition  suggests  the  explanation  that  although  the 
illustrations  were  so  designed  that  the  difficulty  of  the  register  would 
be  minimized  as  much  as  possible,  the  printing  had  to  be  done  so 
slowly  that  the  cost  made  the  publication  unprofitable,  and  very  few 
copies  were  issued. 

The  choice  of  colors  for  the  earliest  prints  was  an  exceedingly 
happy  one.  For  something  like  fifteen  years  only  rose  pink  (beni) 
and  green  were  used ;  but  the  pink  in  different  prints  ranged  from 
a  pale  flush  to  a  brilliant  red,  and  the  green  was  of  all  the  many 
varieties  from  yellow  green  to  blue  green  and  from  light  to  dark; 
and  the  artists  showed  marvellous  ingenuity  in  devising  new  effects 
from  the  comparatively  limited  color  scheme  of  pink,  green,  black,  and 
white — the  white  being  the  unprinted  paper.  At  first  the  color  prints 
were  of  the  hosoe  size.  All  of  the  print  publishers  made  haste  to 
take  advantage  of  the  new  method.  With  the  exception  of  a  few 
large  kakemono-ye  which  continued  to  be  produced  for  another  de¬ 
cade,  the  urushi-ye  were  entirely  superceded  by  the  beni-ye  as  the  new 
prints  were  called. 

The  art  of  print  designing  now  entered  upon  a  fascinating  period. 
The  veterans  Kiyomasu  and  Okumura  Masanobu  vied  with  one  an¬ 
other  and  with  a  bevy  of  talented  younger  men, — Nishimura  Shi- 
genaga,  the  short-lived  Torii  Shiro,  the  brilliant  Ishikawa  Toyonobu, 
and  others  of  lesser  fame — in  designing  works  of  rare  beauty  and 
charm.  Masanobu  in  especial  was  felicitous  in  evolving  delightful 
patterns  from  only  pink  and  green  and  a  black  outline.  Unfor- 


— s— 


tunately  for  us,  he  was  not  entirely  dependent  upon  his  brush  for 
his  livelihood,  and  did  not  therefore  produce  nearly  as  many  prints 
as  most  of  the  Ukiyo-e  artists,  and  in  consequence  his  works  are 
extremely  rare. 

As  artists,  engravers,  and  printers  grew  more  skillfull,  they  be¬ 
came  dissatisfied  with  the  limitations  of  the  beni-ye.  The  earliest 
innovations  were  with  new  color  schemes.  The  pioneer  was  Kiyo- 
masu’s  son  Torii  Kiyomitsu,  a  young  man  of  twenty,  just  beginning 
his  career  as  an  artist.  Under  his  stimulus  the  printers  succeeded  in 
making  prints  for  which  three  color-blocks  were  used.  This  opened 
out  a  new  range  of  effects ;  but  the  gain  was  not  enough  to  overcome 
the  dissatisfaction.  Various  experiments  were  tried.  One  of  these 
was  in  the  printing  method  and  the  results  of  it  are  now  designated 
by  the  Japanese  as  “water  prints.”  In  what  respect  they  differ  from 
other  prints  is  not  apparent.  When  not  too  much  faded  they  have 
very  great  charm;  but  it  is  evident  that  in  most  instances  they  faded 
very  quickly. 

It  was  at  this  period  that  an  artist  appeared  on  the  scene  who 
was  destined  to  carry  the  art  of  color  printing  to  the  highest  point 
it  has  ever  attained  anywhere  in  the  world.  Suzuki  Harunobu  did 
not  invent  the  method  of  full  color  printing,  but  when  the  engraver 
Kinroku — who  is  generally  credited  with  the  discovery  though  it  was 
probably  the  outcome  of  experiments  in  which  all  the  leading  printers 
shared — found  a  way  to  use  as  many  color-blocks  as  were  desired  and 
yet  keep  the  impressions  on  the  printed  sheet  in  perfect  register, 
Harunobu  was  the  first  to  utilize  it.  Quick  to  perceive  its  advan¬ 
tages  he  began  to  issue  prints  that  were  quite  unlike  any  of  their 
predecessors.  They  were  printed  upon  paper  different  from  any 
that  had  been  used  theretofore ;  they  were  novel  in  shape,  in  design, 
in  color,  and  in  subject,  and  were  so  exquisitely  dainty  and  charming 
that  they  instantly  captivated  all  who  saw  them.  One  of  the  first 
innovations  was  the  printed  background.  This  with  one  stroke  com¬ 
pletely  changed  the  character  of  the  prints  and  opened  a  wide  range 
of  possibilities  which  Harunobu  lost  no  time  in  exploring.  By  using 
mixed  tints,  opaque  colors,  and  gauffrage,  the  scope  of  the  art  widened 
as  if  by  magic.  Flushed  with  the  joy  of  discovery  he  strove  to  pro- 


—9— 


duce  prints  that  would  have  the  charm  of  paintings  and  be  worthy 
substitutes  for  them.  And  he  not  only  chose  subjects  likely  to  appeal 
to  men  of  taste  but  treated  them  with  a  tenderness  and  refinement 
previously  unknown  in  Ukiyo-e. 

The  first  of  the  new  prints  appeared  at  the  end  of  1764  and  were 
surimono  calendars  for  the  year  1765.  Surimono,  it  may  be  explained, 
are  cards  of  occasion,  as  are  our  Christmas  cards.  Many  of  them 
were  sent  out  as  New  Year  greetings;  others  were  issued  by  clubs 
of  ode  composers.  They  were  usually  ordered  from  the  artists  direct 
and  were  not  regularly  published.  The  earliest  of  Harunobu’s  little 
calendars  for  1765  were  very  likely  printed  to  distribute  to  a  few 
of  his  friends.  To  the  end  that  they  should  be  regarded  as  choice 
things  it  is  probable  that  very  few  impressions  of  any  of  them  were 
struck  off.  The  dai  and  sho  or  numerals  of  the  large  and  small  months 
of  the  year  appearing  upon  them  were  as  a  rule  so  concealed  as  not  to 
be  obtrusive  and  to  yield  a  new  pleasure  when  discovered.  Very  soon 
after  the  appearance  of  the  first  of  the  Haru-no  Daisho  no  surimono 
as  they  were  called,  they  became  very  much  the  mode.  They  set  a 
fashion  that  all  the  print  designers  were  quick  to  follow  as  best  they 
could.  Meanwhile  Harunobu  made  daily  experiments,  put  forth 
novelty  after  novelty,  and  tried  his  hand  at  more  and  more  elaborate 
works.  In  these  experiments  he  was  ably  seconded  by  the  printers 
Kyosen,  Sekine  Kaei,  Toko,  and  Raishi,  and  by  a  number  of  engravers 
of  whom  Takahashi  Rosen  was  the  most  noted. 

Harunobu  now  occupied  a  most  enviable  position.  No  longer 
need  he  earn  his  living  by  making  pictures  of  actors.  Thenceforth 
he  would  be  free  to  portray  the  beauty  and  charm  of  his  country¬ 
women  whose  figures  and  faces  no  one  else  could  imbue  with  such 
enchanting  sweetness  and  grace.  All  the  other  Ukiyo-e  artists  had 
perforce  to  work  in  his  style  or  go  without  a  market  for  their  wares. 
Some  of  them  succeeded  so  well  that  their  unsigned  prints  sold  in 
the  streets  of  Edo  were  taken  for  his  by  the  people,  and  he  was  no 
longer  able  to  boast  that  a  signature  was  not  necessary  to  identify  his 
works.  Under  the  stimulus  of  an  insatiable  demand  for  his  prints 
he  produced  a  very  large  number,  but  he  could  not  design  them  fast 
enough,  and  so  the  calendar  prints  of  the  beginning  of  the  year  were 


—10— 


revamped,  new  color  blocks  were  engraved  upon  which  the  dai  and 
sho  did  not  appear,  and  second  and  third  editions  were  struck  off, 
which  probably  did  not  have  his  personal  supervision,  and  which  have 
much  less  charm  than  the  earlier  impressions. 

The  art  of  print  designing  now  entered  upon  the  period  of  its 
greatest  triumphs.  From  the  number  of  colors  woven  together  in 
them  the  prints  were  denominated  Nishiki-ye,  or  brocade  pictures. 
Harunobu  lived  only  five  years  longer,  but  they  were  years  of  steady 
progress.  The  older  men  for  the  most  part  ceased  to  produce ;  they 
were  not  young  enough  to  change  their  methods  completely,  but  an¬ 
other  generation  came  forward  to  take  their  places.  Katsukawa 
Shunsho,  by  his  actor  prints  in  the  new  style,  so  completely  eclipsed 
all  rivals  that  Torii  Kiyomitsu,  although  he  was  the  official  artist  of 
the  theatres,  gave  up  print  designing  and  in  his  later  years  devoted 
himself  solely  to  painting  karnban.  Shunsho  was  as  eager  an  experi¬ 
menter  as  Harunobu  and  a  more  forceful  draughtsman.  For  pure 
aesthetic  delight  his  best  works  are  not  surpassed  by  those  of  any  other 
artist.  He  exercised  great  influence  upon  the  development  of  the 
school,  and  with  Shigemasa,  Bunchd,  and  Koryusai  he  held  the  lead¬ 
ing  place  after  Harunobu’s  death  in  1770  until  the  end  of  the  decade, 
when  Torii  Kiyonaga  had  achieved  such  popularity  that  he  dominated 
all  about  him. 

Kiyonaga  may  properly  be  considered  the  culminating  figure  in 
the  forward  movement  of  the  Ukiyo-e  School.  He  was  an  artist  of 
commanding  power  and  a  consummate  master  of  all  the  resources  of 
his  craft.  Even  in  Japan  few  men  have  ever  handled  a  brush  with 
greater  skill ;  and  the  virile  quality  of  his  strong,  yet  infinitely  varied, 
plastic,  and  always  expressive  strokes,  made  a  very  insistent  appeal 
to  a  people  accustomed  to  use  brushes  in  writing,  and  who  could 
therefore  appreciate  the  rare  virtuosity  that  Kiyonaga  displayed.  Be¬ 
sides  this,  his  designs,  even  when  fraught  with  whimsical  or  comic 
meanings,  were  treated  with  a  dignity  and  reserve  that  was  very 
rare  in  Ukiyo-e  art.  And  to  him  we  owe  the  large  diptychs,  triptychs, 
and  compositions  in  five,  seven  and  even  twelve  sheets,  that  were 
such  a  notable  feature  in  the  output  of  the  last  two  decades  of  the 
eighteenth  century. 


—11— 


The  years  of  Temmei  (1781  to  1789)  when  Kiyonaga  reigned 
supreme,  were  years  of  very  great  achievement.  When,  about  1790, 
he  ceased  to  design  color  prints,  the  creative  force  that  induced  the 
forward  movement  was  nearly  spent.  Under  his  influence,  Shuncho, 
Shunman,  and  Eishi,  were  producing  prints  that  rank  among  the 
masterpieces  of  the  school;  Utamaro  was  doing  excellent  work  though 
he  had  not  yet  quite  found  himself;  Toyokuni  was  just  beginning  his 
career  and  attracting  attention  by  designing  prints  more  beautiful 
and  carefully  wrought  than  most  of  those  he  drew  in  later  years 
when  at  the  height  of  his  fame.  Shunyei,  following,  it  would  seem 
probable,  a  suggestion  from  his  master  Shunsho  who  was  soon  to 
pass  from  the  scene,  had  struck  a  new  note  in  the  drawing  of  actor’s 
portraits,  a  note  that  apparently  fired  the  imagination  of  Sharaku 
and  led  to  the  production,  a  few  years  later,  of  the  amazing  prints 
which,  in  spite  of  the  employment  of  unusually  frank  conventions  and 
the  brutality  with  which  the  subjects  are  treated,  must  be  ranked  as 
works  of  art  of  very  high  order.  Concerning  them  it  is  significant 
that  although  all  the  Ukiyo-e  artists  who  were  Sharaku’s  contem¬ 
poraries  tried  their  hands  at  similar  works,  no  one  of  them  was  able 
to  turn  out  anything  more  than  characterless  imitations,  lacking  the 
distinctive  flavor  of  his  grand  style. 

Inscriptions,  probably  contemporary,  on  several  of  the  large  head 
actor  portraits  by  Sharaku  indicate  that  they  were  issued  in  1794. 
By  this  time  Utamaro  had  come  to  the  full  maturity  of  his  power  and 
was  sending  out  a  steady  stream  of  clever  works  drawn  with  his  un- 
imitably  suave,  supple  and  impetuous  brush.  His  hand  and  brain 
seemed  untiring,  his  invention  endless.  The  first  of  the  prints  de¬ 
signed  by  him  at  this  period  are  among  the  greatest  triumphs  of  the 
school.  No  other  Ukiyo-e  artist  could  draw  the  contour  of  the 
human  face  and  figure  with  such  truth  and  such  expressive  line  as 
he;  no  one  essayed  more  different  subjects,  or  was  more  versatile. 
His  very  facility,  however,  only  hastened  the  decadence  which  had 
already  set  in.  Novelty  was  sought  at  any  sacrifice;  styles  under¬ 
went  changes  not  for  the  better.  To  a  certain  extent  Utamaro  was 
swept  along  by  the  current ;  in  a  larger  degree  he,  as  the  most  popular 
artist  of  his  day,  guided  its  course.  To  hold  him  entirely  responsible 


—12— 


for  the  downward  impetus  would  be  unfair:  he  was  born  a  few  years 
too  late  to  participate  in  the  upward  movement;  that  in  the  reverse 
direction  would  have  taken  place  without  him,  but  it  is  safe  to  assume 
that  it  would  have  been  less  rapid.  His  own  work  never  lost  a  cer¬ 
tain  distinction,  even  to  the  end.  But  the  difference  between  the 
artistic  worth  of  the  majority  of  the  prints  issued  about  1794  and 
those  of  five  or  six  years  later  is  very  marked. 

From  this  time  onward  there  was  a  steady  lowering  of  popular 
taste,  and  a  corresponding  decline  in  the  merit  of  the  works  produced 
by  the  artists  of  the  Popular  School.  By  the  second  decade  of  the 
nineteenth  century  a  level  of  blatant  vulgarity  had  been  reached  that 
is  almost  unbelievable  in  view  of  the  high  standard  of  only  twenty- 
five  years  earlier:  and  by  the  middle  of  the  century  the  round  of 
evolution  was  completed,  feeble  drawing,  cheap  printing,  and  gaudy 
coloring  became  the  rule,  and  refinement  of  any  sort  almost  completely 
disappeared. 

As  a  light  sometimes  flares  up  before  it  goes  out,  so  was  the  dark¬ 
ness  of  this  period  of  decay  illuminated  by  the  genius  of  two  men 
of  the  first  rank,  Hokusai  and  Hiroshige.  Both  of  these  artists  were 
extraordinarily  prolific.  Hokusai,  who  lived  and  worked  until  he 
reached  the  age  of  eighty-nine,  produced  a  mass  of  works  which  in 
all  probability  has  never  been  equalled  either  in  extent  or  variety  by 
those  of  any  other  man.  No  other  Japanese  artist  ever  had  so  many 
different  manners,  or  so  many  pseudonymns,  or  essayed  so  many  dif¬ 
ferent  themes,  or  was  more  daring  in  his  compositions,  or  displayed 
more  originality.  Like  Sharaku  he  belongs  in  a  class  by  himself. 
His  art,  wonderful  in  its  versatility  and  masterly  qualities,  is  in  many 
respects  sui  generis.  The  personal  equation  is  always  dominant.  This 
was  his  salvation.  More  than  any  other  thing  it  helped  him  to  steer 
a  straight  course  and  avoid  the  rocks  upon  which  so  many  of  his  con¬ 
temporaries  were  wrecked.  Hiroshige  also  was  an  artist  of  rare  skill. 
His  designs  have  not  the  rugged  strength  that  we  find  in  Hokusai’s; 
they  are  more  realistic  and  are  not  conceived  upon  so  high  a  plane, 
but  they  possess  a  sweetness  and  melting  charm  that  is  all  their  own. 
Both  of  these  men  were  among  the  greatest  landscape  artists  the  world 
has  ever  known.  Their  numerous  prints  of  landscapes  are  a  revela- 


—13— 


tion  of  the  possibilities  of  originality  in  composition  and  variety  of 
interest  in  this  field.  But  without  seeng  the  finest  impressions  one 
cannot  realize  the  full  measure  of  their  merit  as  works  of  art. 

The  truth  is  impressions  of  any  print  vary  so  widely  that  each 
may  almost  be  called  an  individual  thing.  The  very  finest  have  so 
much  vital  quality  that  it  is  difficult  to  think  of  them  as  merely  prints. 
This  is  due  to  the  method  of  printing  which  is  as  far  as  possible  from 
being  mechanical  except  when  carelessly  done.  No  more  primitive 
process  could  be  imagined.  The  most  wonderful  of  all  the  prints 
is  only  a  “rubbing”  taken  by  hand  from  wood  blocks.  In  mak¬ 
ing  a  print  the  artist  first  drew  the  design  with  the  point  of  a  brush 
in  black  outline  on  thin  paper.  The  engraver  then  pasted  this  face, 
down  on  a  plank  of  cherry  or  other  hard  wood,  and,  after  carefully 
scraping  it  until  the  drawing  showed  through  clearly,  cut  away  the 
wood  until  the  lines  stood  up  in  relief,  care  being  taken  to  preserve 
every  feature  of  the  brush  strokes.  Impressions  were  then  taken  in 
Chinese  ink  on  thin  paper  and  handed  to  the  artist  to  fill  in  with  color. 
Several  of  these  impressions  may  be  seen  in  this  exhibition.  This  in¬ 
genious  plan,  which  is  manifestly  the  outgrowth  of  the  early  custom 
of  coloring  the  sumi-ye  prints  by  hand,  enabled  the  artist  to  try  many 
experiments  with  a  minimum  amount  of  labor.  The  color  scheme 
and  ornamentation  of  the  surfaces  having  been  determined  in  this 
way,  as  many  subsidiary  blocks  were  made  as  were  required,  usually 
one  for  each  color,  though  occasionally  it  was  possible  to  use  one 
block  for  two  colors,  at  the  risk  of  accidents  in  the  printing  which 
in  consequence  sometimes  occurred.  Accurate  register  was  secured  by 
a  very  simple  device.  A  right-angled  mark  was  engraved  at  the  lower 
right-hand  corner  of  the  key-block  and  a  straight  mark  in  exact  line 
with  its  lower  arm  at  the  left.  These  were  repeated  upon  each  subse¬ 
quent  block  and  in  printing,  the  sheets  were  laid  down  so  that  their 
lower  and  right-hand  edges  corresponded  with  the  marks  so  made. 

The  blocks  were  charged  with  Chinese  ink  or  color,  applied  with 
flat  brushes.  Usually  a  little  rice  paste  was  mixed  with  the  pigments 
to  increase  their  brilliance  and  to  keep  them  from  running.  Some¬ 
times  dry  rice  flour  was  dusted  over  the  blocks  after  they  were  charged. 
The  printer  could  vary  the  color  at  will.  He  could  apply  it  to  the 


—14— 


entire  surface  of  the  block  or  to  only  part  of  it,  could  grade  it,  and 
modify  it  in  various  ways.  Hard  mechanical  accuracy  was  easily 
avoided,  for  impressions  differed  even  when  uniformity  was  desired. 
The  impression  was  taken  by  laying  a  sheet  of  damp  paper  upon  the 
block  and  rubbing  it  with  a  pad  called  a  baren  applied  to  the  back 
of  the  paper  and  manipulated  with  a  circular  movement.  Many 
things  affected  the  result.  A  little  more  or  a  little  less  pigment  often 
made  a  decided  difference  in  the  tone  of  a  print,  and,  incidentally, 
it  may  be  noted,  in  the  nature  and  extent  of  the  fading  or  decom¬ 
position  of  the  color  in  after  years.  Much  depended  also  upon  the 
dampness  or  dryness  of  the  paper.  By  varying  the  degree  of  pressure 
the  color  could  be  forced  deep  into  the  paper,  or  left  upon  the  outer 
fibres  only  so  that  the  whiteness  of  those  below  would  show  through. 
When  perfectly  done  the  “dry  printing”  was  highly  appreciated.  The 
skill  of  the  printer,  it  will  be  perceived,  was  a  large  factor  in  securing 
the  best  results.  The  very  first  impressions  were  not  usually  the  best. 
A  certain  number  had  to  be  pulled  before  the  blocks  would  take  the 
color  properly.  Then  the  choice  “ippai”  impressions  that  are  so 
rarely  seen,  were  taken,  often  it  may  be  assumed,  under  the  direct 
personal  supervision  of  the  artist  by  whom  the  print  was  designed. 

Many  kinds  of  paper  were  used  for  the  prints.  Impressions  of 
the  same  print  were  frequently  made  upon  more  than  one  kind  and 
sometimes  upon  three  or  four.  Apparently  no  invariable  rule  gov¬ 
erned  the  selection  even  for  the  choicest  impressions,  except  in  the 
case  of  some  of  Harunobu’s  prints  for  the  best  of  which  a  thick  paper 
of  soft,  spongy  texture  and  almost  ivory  tone  was  used.  In  Japan 
this  is  now  spoken  of  as  Kyosen  paper,  on  the  supposition  that  it  was 
specially  made  for  that  printer  and  according  to  his  formula,  which 
has  been  lost.  Surimono  paper  which  came  into  use  toward  the  end 
of  the  eighteenth  century  is  much  whiter  than  other  Japanese  paper, 
and  is  made  of  a  fibre  resembling  cotton.  To  facilitate  any  printing 
little  or  no  size  was  used  in  its  manufacture,  and  in  consequence  prints 
made  upon  it  were  very  easily  damaged  as  any  handling  was  apt  to 
result  in  abrasion  of  the  surface 

Concerning  the  pigments  used  very  little  is  known.  Beni,  which 
is  virtually  the  same  as  rouge,  is  an  exceedingly  beautiful  but  extremely 


fugitive  red  extracted  from  the  saffron.  Indigo  of  a  hue  that  cannot 
be  matched,  was  extracted  from  blue  cloth  imported  from  China, 
taisha,  which  was  first  used  by  Kiyomitsu,  is  our  familiar  Indian  red ; 
tan  is  a  red  oxide  of  lead ;  and  gofun,  known  to  us  as  Chinese  white, 
is  made  from  the  same  mineral.  But  we  are  without  information 
regarding  the  yellows,  or  the  greens,  or  the  composition  of  the  purple 
that  fades  and  decomposes  into  a  thousand  broken  hues  of  great 
beauty;  we  have  not  penetrated  the  secret  of  the  wonderful  blue, 
apparently  a  compound  tint,  that  so  rarely  remains  as  when  first 
applied  to  the  paper,  and  so  often  has  changed  to  a  pale  buff,  having 
peculiar  depth  and  a  soft,  velvety  texture.  Perhaps  it  is  fortunate 
that  this  knowledge  eludes  us,  since  we  are  undoubtedly  spared  a  flood 
of  modern  reproductions.  Many  of  these  have  been  made  in  the  last 
twenty-five  years,  but  only  a  few  of  them  are  deceptive  to  the  experi¬ 
enced  eye.  Most  of  them  when  placed  beside  the  old  works  appear 
dull  and  lifeless.  The  most  serious  attempt  to  make  reprints  that  could 
not  be  detected,  was  made  about  twenty  years  ago,  when  a  group 
of  about  twenty  prints  by  Harunobu,  including  as  it  curiously  happens, 
at  least  one  of  Kokan’s  forgeries,  were  reproduced.  These  were  so 
well  done  that  the  few  impressions  offered  for  sale  were  readily 
bought  by  European  collectors.  The  best  of  them  are  in  some  respects 
superior  to  poorly  printed  late  impressions  from  the  original  blocks 
or  to  early  impressions  which  through  exposure  or  other  maltreatment 
have  lost  their  vital  quality,  and  in  consequence  are  not  infrequently 
mistaken  for  reprints. 

Although  as  early  perhaps  as  the  An-ei  period  (1772-1781) 
Eiraku-ya  of  Nagoya  bought  the  blocks  of  well-known  prints  that 
were  out-of-date  in  the  eastern  capital,  revamped  them  in  various 
ways  and  issued  editions  quite  worthless  as  works  of  art,  and  in 
Osaka  in  the  nineteenth  century  a  few  prints  were  made  from  designs 
by  local  artists,  the  nishiki-ye  were  distinctly  a  Edo  product  and  were 
often  referred  to  as  Edo-ye.  Most  of  them  were  sold  at  the  time  of 
publication  for  a  few  sen.  So  cheap  were  they  that  they  very  soon  after 
color  printing  was  invented  the  custom  grew  up  of  designing  them  in 
series  of,  as  a  rule,  from  four  to  twelve  prints,  though  sometimes  more, 
which  were  made  up  in  packets  enclosed  in  ornamental  wrappers, 


—16— 


and  not  only  sold  in  the  publisher’s  shops  but  hawked  about  the  streets. 
A  print  by  Kiyonaga  (No.  463  in  this  exhibition)  shows  a  boy  offering 
such  a  packet  to  passers-by,  while  a  man  standing  before  the  publisher’s 
shop  is  examining  larger  single  sheet  prints.  Presumably  the  larger 
and  more  elaborate  prints  sold  for  relatively  high  prices,  but  in  gen¬ 
eral  they  were  regarded  as  ephemeral  things  and  the  prices  were  small. 
The  only  definite  information  we  have  about  the  prices  is  furnished 
by  an  edict  promulgated  in  1842,  in  which  it  was  provided  that  no 
single  sheet  should  be  sold  for  a  greater  price  than  sixteen  sen.  Today 
that  sum  is  the  equivalent  of  eight  cents,  but  the  difference  in  the  pur¬ 
chasing  power  of  money  then  and  now  needs  to  be  considered  in  esti¬ 
mating  the  actual  price  limit. 

Color  prints  were  made  for  many  purposes  and  in  widely  varying 
editions.  Those  that  we  now  admire  and  treasure  were  only  a  small 
part  of  the  entire  number  issued.  Their  distinction  is  due  to  their 
having  been  designed  by  artists  of  much  more  than  ordinary  ability. 
By  the  Japanese  of  the  upper  classes  they  were  looked  upon  as  amus¬ 
ing  things  not  to  be  taken  very  seriously.  The  reason  for  this  is  that 
the  subjects  of  most  of  them  were  considered  vulgar,  and  they  lacked, 
as  a  rule,  the  lofty  poetic  sentiment  that  men  of  taste  were  educated 
to  consider  a  sine  qua  non  in  works  of  art.  By  far  the  larger  part  of 
them  represent  actors  or  women  of  the  Yoshiwara:  the  great  majority 
contain  some  comic  allusion,  or  travesty  upon  well-known  tale  or 
classic  incident,  or  satirize  the  foibles  of  the  nobles.  But  if  the  aris¬ 
tocrats  affected  to  look  down  upon  the  prints,  there  were  many  people 
who  admired  and  appreciated  them.  And  so  although  countless  thou¬ 
sands,  including,  unfortunately,  most  of  the  impressions  of  the  more 
important  works  of  the  greater  artists,  were  pasted  on  screens  or 
mounted  as  kakemono  and  were  destroyed  by  exposure  or  in  the  fre¬ 
quent  conflagrations  by  which  Edo  was  devastated,  many  others  were 
carefully  put  away  and  saved.  Unhappily  the  Japanese  kura  or  fire¬ 
proof  storehouses  were  not  always  proof  against  mildew  and  the 
ravages  of  moths,  and  owners  have  not  always  handled  the  prints 
with  care.  In  consequence,  the  choicest  impressions  of  notable  prints, 
which  were  probably  never  very  numerous,  are  now  extremely  rare. 
It  is  these  impressions  that  are  sought  for  by  discriminating  collectors 


—17— 


such  as  the  late  owner  of  the  prints  here  exhibited.  The  collection 
made  by  Mr.  Buckingham  easily  takes  rank  among  the  finest  that  have 
ever  been  brought  together.  It  is  especially  strong  in  the  rare  early 
prints  that  were  made  before  the  development  of  full-color  printing, 
and  are  conveniently  grouped  under  the  general  caption  of  “primi¬ 
tives,”  and  in  the  superb  showing  of  works  by  Kiyonaga;  but  all  the 
leading  artists  are  well  represented.  The  collection  is  notable  for 
the  choice  condition  of  most  of  the  prints.  Mr.  Buckingham  made  a 
special  effort  to  get  fine  impressions  in  perfect  condition.  He  was  con¬ 
cerned  with  their  artistic  quality  and  cared  nothing  for  historical  com¬ 
pleteness.  Nevertheless  the  prints  included  in  this  exhibition  admir¬ 
ably  represent  the  history  of  the  Ukiyo-e  school,  though  less  than  half 
of  the  collection  is  shown,  and  space  was  not  available  for  the  actor 
prints  by  Shunsho,  Buncho,  Shunko  and  Shunyei. 

In  regard  to  the  dates  assigned  to  the  prints  in  this  catalogue  a  few 
words  should  be  said.  In  most  instances  they  are  tentative,  and  allow¬ 
ance  should  be  made  for  a  variation  of  a  year  either  way,  and  some¬ 
times  more.  The  dating  is,  however,  the  result  of  the  study  of  a 
large  number  of  prints  and  is  based  upon  the  following  considerations : 
First,  dated  prints,  chiefly  calendars,  and  illustrated  books  which 
afford  certain  definite  information;  second,  contemporary  inscriptions 
bearing  dates;  third,  a  comparison  of  the  works  of  the  different  artists 
working  at  any  given  time,  bearing  in  mind  their  ages  and  what  these 
may  signify;  fourth,  the  chronicle  of  the  Edo  stage  from  which  we 
learn  the  dates  when  the  leading  actors  were  born  and  died,  their  sev¬ 
eral  changes  of  name,  the  times  when  certain  dramas  were  presented 
and  other  useful  information;  fifth,  fashions  in  wearing  apparel  and 
coiffures;  sixth,  and  in  some  respects  most  important  of  all,  the  pro¬ 
gressive  changes  in  manner  which  the  work  of  every  virile  artist 
always  shows;  seventh,  the  vogue  of  peculiarities  in  drawing  such  as 
abnormally  tall  or  very  short  figures,  and  other  whims  that  obtained 
every  now  and  then  for  brief  intervals,  and  to  which  all  of  the  Edo 
artists  as  a  rule  conformed.  The  method  by  which  the  prints  were 
produced  and  especially  the  rapidity  with  which  the  drawings  could 
be  made  with  the  brush  enabled  the  artists  to  design  an  astonishingly 
large  number.  One  of  the  consequences  was  that  any  new  idea, 


—18— 


whether  of  subject  or  treatment,  was  immediately  seized  upon  by  all 
the  artists  in  the  city.  What  one  did  therefore  was  sure  to  be  reflected 
in  the  work  of  the  others.  No  one  of  these  considerations  is  alone 
sufficient,  but  from  them  all  it  is  possible  to  arrive  at  a  reasonable 
degree  of  certainty. 

Frederick  W.  Gookin. 


—19— 


GLOSSARY 


FORMATS 

Japanese  words  for  which  there  are  no  English  equivalents  furnish 
the  most  convenient  way  of  designating  the  size  of  the  prints. 

Hashira-ye  (pillar  print).  Vertical  format:  height,  about  27 
inches ;  width,  from  4  to  5  inches. 

Wide  Hashira-ye.  Vertical  format:  height,  about  28  inches; 
width,  about  9  inches. 

Kakemono-ye.  Vertical  format:  height,  22  to  27  inches;  width, 
about  12  inches. 

Makimono-ye.  Horizontal  format:  height,  about  12  inches; 
length,  about  27  inches. 

Oban.  Vertical  format:  height,  about  15  inches;  width,  about 
10  inches. 

Yokoye.  Horizontal  format:  height,  about  10  inches;  width, 
about  15  inches. 

Chuban.  Vertical  format:  height,  about  11  inches;  width,  about 
8  inches. 

Koban.  Vertical  format:  smaller  than  chuban. 

Hosoe.  Vertical  format:  height,  about  12  inches;  width,  about 
6  inches. 


SIGNATURES 

Ga.  This  term,  the  equivalent  of  yegaku,  signifies  “drawn  by.” 
Hitsu.  Brush.  The  alternative  pronunciation  “fude”  is  not  used 
for  Ukiyo-e  works. 


CATALOGUE. 


HISHIKAWA  MORONOBU. 

This  eminent  artist,  who  may  be  considered  as  the  father  of  pic¬ 
torial  printing  in  Japan,  was  born  at  Hoda  in  the  province  of  Awa, 
a  small  village  situated  about  thirty  miles  from  Edo,  across  the  bay. 
The  date  of  his  birth  is  not  certainly  known ;  but  it  was  probably  in 
the  year  1625.  He  was  named  Kichibei,  by  which  appellation  he 
was  familiarly  known  to  his  family  and  friends,  and  Moronobu,  by 
which  name  he  was  known  to  the  world  at  large.  Here  it  may  be 
noted  that  the  complicated  structure  of  Japanese  names  is  a  source  of 
much  confusion,  which  is  the  more  troublesome  from  the  fact  that 
the  characters  with  which  they  are  written  can  be  read  with  either 
Japanese  or  Chinese  pronunciation.  It  was  not  customary  for  artists 
to  sign  their  works  with  their  true  names,  but  with  “go”  or  studio 
names  of  which  each  artist  might  have  as  many  as  he  liked. 

Moronobu’s  father,  who  died  in  1662,  was  Hishikawa  Kichi- 
zaemon  Michishige,  known  also  in  his  later  years  as  Kochiku  (not 
Mitsutake,  as  it  may  be  read),  a  celebrated  embroiderer,  who  was 
also  a  clever  painter  and  designer.  Moronobu  is  said  to  have  been 
only  ten  years  old  when  he  began  to  assist  his  father.  Under  his 
tutelage  Moronobu  became  proficient  in  the  handicraft  of  embroidery 
and  in  the  art  of  designing  for  it,  but,  while  still  a  youth  he  removed 
to  Edo,  where  he  devoted  himself  entirely  to  painting,  studying  first 
the  Tosa  style  and  then  turning  to  that  Ukiyo-e  modification  of  Tosa 
practised  by  Iwasa  Matahei  and  his  pupils.  It  was  not  long  before 
he  began  to  draw  designs  for  book  illustrations  in  the  style  of  the  new 
Popular  School.  His  training  gave  him  remarkable  skill  in  the 
arrangement  of  pattern  and  ability  to  secure  richness  of  effect  with 
simple  means.  This  was  precisely  what  was  necessary  to  develop  the 
art  of  wood  engraving,  which,  under  his  direction,  made  notable  prog¬ 
ress  during  his  lifetime.  He  designed  illustrations  for  more  than 
thirty  books,  besides  numerous  single-sheet  prints,  and  also  executed  a 
large  number  of  paintings.  In  the  year  1694  he  became  a  nyudo,  i.  e., 
“one  who  has  come  to  understand  the  truth,”  assumed  the  aspect  of 
a  Buddhist  priest,  and  took  the  name  of  Yuchiku.  His  death  occurred 
early  in  the  following  year,  as  appears  from  the  preface  and  appendix 
to  “Sugata-e  Hyakunin  Isshu,”  published  in  May,  1695,  for  which  he 
drew  the  illustrations. 

—21— 


HISHIKAWA  MORONOBU 


1.  NARIHIRA  SENDING  A  LETTER  TO  A  LADY. 

Double  page  book  illustration.  Not  signed.  About  1675.  Slightly 
colored  by  hand  at  a  later  date. 

This  print  illustrates  a  scene  from  the  mediaeval  romance,  “Ise 
Monogatari,”  which  is  supposed  to  chronicle  the  amatory  adventures 
and  other  episodes  in  the  life  of  the  famous  poet  and  court  noble, 
Ariwara  no  Narihira  Ason. 

2.  THE  YOSHIWARA  PARADE. 

Makimono-ye.  Sumi-ye.  Not  signed.  About  1678. 

Over  the  heads  of  the  four  oiran  in  the  procession  men  servants 
hold  umbrellas  from  which  are  suspended  paper  strips  inscribed  with 
the  women’s  mon  (badges)  and  their  names,  i.  e.,  Toragozen,  Shosho, 
Kasugano,  and  Utsusemi. 

3.  PROCESSION  OF  THE  KOREAN  AMBASSADOR. 

Makimono-ye.  Colored  by  hand  with  tan  (red  lead),  green  and 
white.  Not  signed.  About  1678. 

This  print  and  Nos.  4  and  9  show  the  earliest  style  of  hand-color¬ 
ing  that  was  applied  to  the  prints. 

4.  COURT  LADY  STANDING  UNDER  A  PLUM  TREE. 

Kakemono-ye  slightly  colored  by  hand.  Not  signed.  About  1678. 
An  important  example  of  Moronobu’s  work  in  exceptional  con¬ 
dition. 

5.  AN  INTERRUPTED  EMBRACE. 

Yokoye.  Sumi-ye.  Not  signed.  About  1680. 

6.  A  PICNIC  PARTY. 

Yokoye.  Sumi-ye.  Not  signed.  About  1685. 

Characteristic  example  of  Moronobu’s  middle  period. 

7.  COURT  LADY  STANDING  UNDER  A  CHERRY 
TREE. 

Kakemono-ye.  Hand-colored.  Not  signed.  About  1686. 

An  unusually  fine  example  of  Moronobu’s  single  sheet  prints.  The 
coloring  is  done  with  freedom  yet  with  great  care,  perhaps  by  Morono- 
bu  himself. 

—22— 


HISHIKAWA  MORONOBU 


8.  A  YOUNG  MAN  VISITING  HIS  LADY  LOVE 
AND  ANOTHER  WOMAN  LOOKING  AT  THEM 
THROUGH  A  WINDOW. 

Yokoye  Sumi-ye.  Not  signed.  About  1690. 

Prints  of  this  style  and  size  were  commonly  issued  in  series  and 
bound  in  folding  albums  (orihon).  As  a  rule,  only  the  last  sheet  of 
the  series  was  signed. 


HISHIKAWA  MOROFUSA 

Morofusa  was  the  "go”  or  artist  name  of  Moronobu’s  eldest  son, 
Kichizaemon.  Though  he  was  a  clever  and  graceful  painter,  he  early 
gave  up  painting  and  became  a  dyer.  So  far  as  known  he  designed 
only  a  very  few  prints. 

9.  SCENE  FROM  A  DRAMA. 

Kakemono-ye.  Hand-colored.  Signed :  Morofusa  g a  on  margin 
which  has  been  trimmed  from  this  impression.  About  1675. 

The  actor  Ukiyo  no  Suke  is  represented  as  a  samurai  holding  an 
umbrella  over  a  woman,  impersonated  by  Kanto  Koroku,  on  the 
road  to  Yoshida,  while  from  a  balcony  they  are  watched  by  Miyakono 
Okuni  and  another  woman. 


HISHIKAWA  MOROSHIGE 

This  artist,  whose  family  name  was  Furuyama,  was  a  pupil  and 
follower  of  Moronobu. 

10.  A  MAN  LISTENING  TO  A  WOMAN  READING 
ALOUD. 

Yokoye.  Sumi-ye.  Signed:  Moroshige  zu.  About  1690. 

The  woman  is  seated  on  a  toko  (bed)  ;  the  man  is  near  her  and 
has  a  futon  (wadded  coverlid)  wrapped  about  him. 


KAIGETSUDO  ANCHI 


One  of  the  most  brilliant  of  the  Ukiyo-e  artists  of  the  early  eigh¬ 
teenth  century  was  Okazawa  Genshichi,  whose  artist  name  was 


—23— 


KAIGESTSUDO  ANCHI 


Kaigetsudo  Ando.  Though  he  is  said  to  have  been  an  amateur, 
rather  than  a  professional  artist,  his  work  has  unusual  character  and 
distinction.  He  specialized  in  figures  of  tall  women,  which  were 
drawn  with  a  splendid  sweep  of  finely  felt  line  and  a  vivacity  of  pat¬ 
tern  quite  unsurpassed.  His  coloring,  too,  was  always  charming.  Lit¬ 
tle  is  known  about  him.  Most,  if  not  all,  of  his  work  and  that  of  his 
pupils  Kaigetsudo  Anchi,  Kaigetsudo  Dohan,  Kaigetsudo  Doshu  and 
Kaigetsudo  Doshin,  was  done  in  the  decade  preceding  the  year  1714. 
In  that  year  he  was  banished  to  the  island  of  Oshima,  as  a  punishment 
for  having  attended  a  banquet  at  a  tea-house  attached  to  one  of  the 
theatres  in  company  with  some  court  ladies.  This  episode  appears 
to  have  broken  up  the  Kaigetsudo  group. 

Ando  did  not  publish  any  prints,  but  a  few  were  designed  by  his 
pupils  and  followers  who  closely  imitated  his  style,  though  they 
could  not  equal  his  rare  combination  of  force  and  refinement.  These 
prints  which  are  of  extreme  rarity  are  regarded  as  among  the  chief 
prizes  for  which  collectors  strive. 

11.  A  BIJIN  (BEAUTIFUL  WOMAN). 

Kakemono-ye.  Sumi-ye.  Signed:  Nihon  Kyoga.  Kaigetsudo 
Matsuyo  (pupil)  Anchi.  (This  name  may  be  read  Yasutomo: 
which  pronunciation  was  used  is  not  known.)  Seal:  Anchi.  Pub¬ 
lisher:  Maruhachi. 


KAIGETSUDO  DOHAN 

12.  AN  OIRAN. 

Kakemono-ye.  Hand-colored.  Signed :  Nihon  Kyoga  Kaigetsudo 
Matsuyo  Dohan  (alternative  reading  Norishige).  Seal:  Dohan. 
Publisher :  Iga-ya. 


TORII  KIYONOBU 

This  artist,  whose  personal  name  was  Torii  Shobei,  was  born  in 
1664  and  was  the  son  of  Torii  Shokichi  Kiyomoto,  the  founder  of  the 
Torii  line  of  Ukiyo-e  artists.  Kiyomoto  was  born  in  1645  and  was  an 
actor  of  Osaka  before  he  became  a  painter.  In  1687  father  and  son 
removed  to  Edo,  where  they  obtained  employment  in  painting  the 
kamban  or  signs,  for  the  Ichimura  theatre.  These  signs  were  some 


—24— 


TORII  KIYONOBU 


four  or  five  feet  in  height,  and  forty  or  fifty  feet,  or  even  more,  in 
length,  and  the  large  pictures  of  actors,  vigorous  in  design  and  exe¬ 
cuted  with  powerful  brush  strokes,  which  were  drawn  upon  them  soon 
made  the  Torii  artists  famous  and  gained  them  the  patronage  of  all 
four  of  the  first-class  theatres  in  the  Shogun’s  capital.  Kiyonobu  soon 
began  to  attract  attention  also  by  painting  actors’  portraits  in  sake 
cups,  which  became  one  of  the  fashions  of  the  day.  About  seven  of 
eight  years  later,  as  nearly  as  can  now  be  determined,  he  took  up  the 
designing  of  small  single  sheet  prints  of  actors,  which  were  sold  in  the 
streets  for  a  very  small  price.  After  his  father  s  death  in  1 702  he 
continued  to  carry  on  the  work  for  the  theatres,  which,  indeed,  became 
a  perquisite  of  the  Xorii  line  for  several  generations.  About  this 
time  he  began  to  publish  large  single  sheet  prints  which,  like  some  of 
those  designed  by  Moronobu,  could  be  mounted  as  kakemono  or  pasted 
upon  screens.  He  is  generally  credited  as  the  originator  of  the  style 
of  coloring  known  as  tan-ye,  and  of  the  later  kurenai-ye,  and  urushi-ye 
styles.  He  died  in  1729  at  the  age  of  sixty-six. 

13.  THE  ACTOR  MORITA  MOTOGORO. 

Hosoe.  Hand-colored.  Not  signed.  Publisher:  Hangi-ya.  About 
1695. 

The  actor  represents  a  pilgrim  seated  by  a  tree  stump  near  the 
seashore.  He  holds  his  staff  in  his  left  hand  and  stretches  out  the 
other  toward  a  cuckoo  flying  overhead  and  carrying  in  its  beak  a  leaf 
from  the  tree. 

This  print  and  the  next  number  are  rare  examples  of  Kiyonobu  s 
earliest  style  of  actor  prints.  Some  previous  owner  having  pasted 
slips  of  paper  over  the  marks  of  the  publisher,  the  portions  of  the 
prints  so  covered  are  now  somewhat  lighter  than  the  exposed  surfaces. 

14.  ACTOR,  AS  A  SAMURAI  IN  WINTER  GARB. 

Hosoe.  Hand-colored.  Not  signed.  Publisher:  Hangi-ya.  About 
1695. 

is  THE  ACTOR  SUGIMOTO  TANIZO,  AS  A  WOMAN 
CARRYING  AN  UMBRELLA  AND  LEADING  A  BOY, 
IMPERSONATED  BY  NAKAMURA  SHICHISABURO. 
Hosoe.  Tan-ye.  Not  signed.  About  1700. 

A  re-engraving  of  this  print  was  made  about  1896,  as  a  specimen 
of  the  work  of  Moronobu  so  choice  as  to  be  worthy  of  being  repro¬ 
duced.  It  is,  however,  clearly  later  than  Moronobu’s  time. 


TORII  KIYONOBU 


1 6.  THE  ACTOR  SAWAMURA  KODENJI  AS  A  DANC¬ 
ING  GIRL,  HOLDING  A  LARGE  HAT  UPSIDE 
DOWN  ON  THE  PALM  OF  HER  HAND. 

Hosoe.  Tan-ye.  Not  signed.  Publisher:  Hangi-ya.  About  1700. 


17.  ACTOR  OF  THE  TSUTSUI  LINE  AS  HANA  OKAMI, 
STANDING  UNDER  A  CHERRY  TREE  IN  BLOOM. 

Hosoe.  Tan-ye.  Not  signed.  About  1700. 

18.  KAMIMURA  KICHISABURO  IN  THE  ROLE  OF 
JOSAN  NO  MIYA. 

Kakemono-ye.  Tan-ye.  Signed:  Yamato  Gako  (Japanese  artist) 
Torii  Shobei.  Publisher:  Hangi-ya.  About  1705. 

Josan  no  Miya  was  a  court  lady  of  the  olden  time.  She  is  always 
represented  as  leading  or  playing  with  a  white  kitten. 

19.  AN  OIRAN  AND  HER  KAMURO  (ATTENDANT). 

Kakemono-ye.  Sumi-ye.  Signed:  Yamato  hitsu  Hinga  Tsukasa 
Torii  Kiyonobu.  Publisher:  Hangi-ya.  About  1710. 

20.  THE  ACTOR  SAN  JO  KANTARO  AS  A  WOMAN 
STANDING,  HOLDING  A  BOOK. 

Kakemono-ye.  Tan-ye.  Signed:  Torii  Kiyonobu.  Stamp:  Kiyo- 
masu.  Publisher:  Komatsuya.  About  1712. 

21.  TWO  LOVERS  AND  A  HOKAN  (PROFESSIONAL 
BUFFOON). 

Yokoye.  Sumi-ye.  Not  signed.  About  1715. 

The  lovers  are  seated  side  by  side  and  the  hokan  is  entertaining 
them  with  his  witticisms. 


22.  A  WOMAN  AND  HER  LOVER  SEATED  BACK  TO 
BACK. 

Yokoye.  Sumi-ye.  Not  signed.  About  1715. 


23.  A  MAN  LISTENING  TO  A  WOMAN  READING 
ALOUD. 

Yokoye.  Sumi-ye.  Not  signed.  About  1715. 


—26— 


TORII  KIYONOBU 


24.  ICHIKAWA  DANJURO  AS  A  SAMURAI  SEATED, 
LOOKING  UP  AT  FUJITA  HANANOJO  AS  A  WOM¬ 
AN  HOLDING  A  PUPPET  MOUNTED  UPON  A  BOX. 

Hosoe.  Tan-ye.  Not  signed.  Publisher:  Nakajima-ya.  About 
1715. 

25.  SANJO  KANTARO  AS  A  WOMAN  SEATED  UPON  A 
KOTATSU. 

Hosoe.  Kurenai-ye  or  “red  picture.”  Colored  by  hand  chiefly 
with  beni.  Not  signed.  About  1718. 

26.  PUPPETS  BORNE  IN  A  STREET  PROCESSION. 

Makimono-ye.  Hand-colored.  Not  signed.  No  publisher’s  mark. 
About  1718. 

This  print  was  ascribed  to  Okumura  Masanobu  by  Professor  Fen- 
ollosa  (See  No.  18  in  “The  Masters  of  Ukioye”),  but  the  drawing 
seems  to  be  that  of  Torii  Kiyonobu,  perhaps  of  earlier  date,  however, 
than  1718. 

At  the  time  the  print  was  issued  elaborate  puppet  shows  had  great 
popularity  in  Edo.  So  great  was  their  vogue  that  some  actors  trained 
themselves  to  take  the  role  of  puppets  and  to  face  their  audiences  with¬ 
out  in  any  way  showing  that  they  were  living  beings. 

27.  ACTOR  (UNIDENTIFIED)  AS  A  DANCING  GIRL, 
HOLDING  A  PUPPET  AS  DANJURO  IN  THE  ROLE 
OF  SHIRAI  GOMPACHI. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyonobu  hitsu.  Publisher: 
Maruko.  About  1720. 

An  exceptionally  beautiful  example  of  the  hand  colored  print 
known  as  urushi-ye. 


28.  ACTORS  AS  A  WOMAN  AND  HER  LOVER  PROM¬ 
ENADING. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyonobu  zu.  Publisher: 
Emiya.  About  1725. 

29.  THE  ACTOR  YAMASHITA  KINSAKU  AS  A  WOMAN 
HOLDING  A  PUPPET  OF  A  COURT  LADY. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyonobu  hitsu.  Publisher: 
Emiya.  About  1725. 


—27— 


TORII  KIYONOBU 


30.  SANOGAWA  MANKIKU  AS  A  GEISHA  AND 
SAKATA  HAGINOJO  AS  HER  ATTENDANT. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyonobu  hitsu.  Publisher: 
Emiya.  About  1729. 

31.  SEGAWA  KIKUNOJO  IN  THE  ROLE  OF  OISO-NO- 
TORA,  AND  KAMEI  JUJIRO  AS  JURO  SUKENARI. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyonobu  hitsu.  Publisher: 
Nakajima-ya.  About  1729. 


TORII  KIYOMASU 

Whether  Kiyomasu  was  a  son  or  a  younger  brother  of  Torii 
Kiyonobu  has  been  in  question  until  quite  recently  when,  through  the 
researches  of  Mr.  Arthur  Morrison,  the  author  of  “The  Painters  of 
Japan,”  it  has  been  learned  that  he  was  the  eldest  of  his  three  sons. 
It  is  highly  probable  that  he  began  to  work  in  his  father’s  studio  in 
Naniwacho  when  yet  a  lad.  The  circumstances  that  his  seal  was  used 
on  a  print  signed  by  his  father  (No.  20  in  this  exhibition)  may,  of 
course,  indicate  nothing  more  than  an  accident,  but  it  may  signify 
that  the  young  man  had  a  share  in  the  drawing.  His  earliest  prints 
show  him  an  accomplished  master.  He  closely  assimilated  his  father’s 
style,  but  drew  also  something  from  that  of  Kaigetsudo.  After  his 
father’s  death  he  became  the  head  of  the  Torii  line.  He  died  on  the 
second  day  of  the  twelfth  month  of  Horeki  thirteen,  i.  e.,  January 
4,  1764- 

32.  ICHIKAWA  MONNOSUKE  AND  TAMAZAWA  RIN- 
YA  AS  SAMURAI  WITH  BASKET  HATS,  STAND¬ 
ING  BENEATH  A  CHERRY  TREE. 

Kakemono-ye.  Tan-ye.  Signed:  Torii  Kiyomasu  hitsu.  Pub¬ 
lisher:  Iga-ya.  About  1715. 

33.  THE  ACTOR  TSUTSUI  KICHIJURO  AS  AN  OIRAN. 

Kakemono-ye.  Tan-ye.  Signed:  Torii  Kiyomasu  zu.  Publisher: 
Iga-ya.  About  1715. 

34.  THE  ACTOR  SANOGAWA  MANKIKU  AS  A  WOM¬ 
AN  STANDING  BY  THE  GATE  TO  A  DWELLING 
AND  HOLDING  AN  UMBRELLA  OVER  HER  HEAD. 

Kakemono-ye.  Tan-ye.  Signed:  Torii  Kiyomasu  hitsu.  Pub¬ 
lisher:  Iga-ya.  About  1715. 


—28— 


TORII  KIYOMASU 


35.  A  BIJIN  (BEAUTIFUL  WOMAN). 

Kakemono-ye.  Sumi-ye.  Signed:  Torii  Kiyomasu  hitsu.  Pub¬ 
lisher:  Iga-ya.  About  1715. 

The  striking  boldness  of  the  design  of  this  print  gives  it  especial 
distinction.  The  clever  way  in  which  the  crows  are  utilized  to  deco¬ 
rate  the  kimono  and  also  to  strengthen  the  composition  is  noteworthy. 

36.  THE  ACTOR  KANTO  KOROKU  AS  A  WOMAN 
STANDING,  HOLDING  AN  UCHIWA  (ROUND 
FAN). 

Kakemono-ye.  Sumi-ye.  Signed:  Torii  Kiyomasu.  Publisher: 
Nakajima-ya.  About  1715. 

This  print  is  perhaps  Kiyomasu’s  masterpiece.  Certainly  among 
his  extant  works  it  would  be  difficult  to  find  another  print  in  which 
the  drawing  is  marked  by  such  rare  elegance  and  refinement. 

37.  WOMAN  HOLDING  A  BABY  BOY  AND  A  TOY  LAN¬ 
TERN. 

Kakemono-ye.  Sumi-ye.  Signed:  Torii  Kiyomasu.  Publisher: 
Nakajima-ya.  About  1715. 

Here  the  vigorous  brush  strokes  echo  those  of  Kaigetsudo,  but  are 
based  upon  the  work  of  the  Kano  masters. 

38.  ACTOR  (UNIDENTIFIED)  AS  AN  OIRAN. 

Kakemono-ye.  Tan-ye.  Signed:  Torii  Kiyomasu.  Publisher:  Iga- 
ya.  About  1715. 

39.  ACTOR  IN  THE  ROLE  OF  A  WARRIOR  CAPTUR¬ 
ING  A  TENGU. 

Kakemono-ye.  Hand-colored.  Signed:  Torii  Kiyomasu.  Pub¬ 
lisher:  Emi-ya.  About  1715. 

The  tengu  is  a  mythical  man-bird  of  reputed  great  ferocity. 

40.  SCENE  FROM  THE  DRAMA,  “OSHU  KOKANE.” 

Yokoye.  Sumi-ye.  Signed:  Torii  Kiyomasu.  Publisher:  Naka- 
jima-ya.  About  1715. 

41.  THE  ACTOR  ICHIKAWA  DANJURO  AS  A  WAR¬ 
RIOR  IN  WINTER  GARB. 

Hosoe.  Tan-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher:  Iga- 
ya.  About  1715. 


TORII  KirOMASU 


42.  THE  FIRST  IWAI  HANSHIRO  AS  A  SAMURAI. 

Hosoe.  Sumi-ye,  with  a  touch  of  color  applied  by  hand.  Signed: 
Torii  Kiyomasu  hitsu.  Publisher :  Iga-ya.  About  1720. 

43.  SANJO  KANTARO  AS  A  WOMAN  IN  WINTER  COS¬ 
TUME. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Sagami-ya.  About  1720. 


44.  YAMASHITA  KINSAKU  AS  A  PEDDLER. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu.  Publisher:  Naka- 
jima-ya.  About  1720. 


45.  ACTOR  (UNIDENTIFIED)  AS  A  WOMAN  IN  WIN¬ 
TER  COSTUME,  HOLDING  A  BRANCH  OF  PLUM 
BLOSSOMS. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Iga-ya.  About  1720. 


46.  NAKAMURA  KIYOSABURO  AS  A  WOMAN  CARRY¬ 
ING  A  BRANCH  OF  CHERRY  BLOSSOMS. 

Hosoe.  Urushi-ye.  No  signature  nor  publisher’s  mark.  About 
1720. 


47.  SANOGAWA  MANKIKU  AS  A  WOMAN  STANDING 
ON  THE  BANK  OF  A  RIVER. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Izutsu-ya.  About  1725. 


48.  TOMIZAWA  MONTARO  AS  AN  ITINERANT  VEN¬ 
DOR  OF  CONFECTIONERY. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu  hitsu.  About  1730. 


49.  the  first  sawamura  sojuro  as  a  man 

STANDING  IN  FRONT  OF  A  SHOP. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Urukogata-ya.  About  1730. 


—30— 


KIYONOBU 

No.  16.  Sawamnra  Ivodenji  as  a  dancing  girl 


KIYONOBU 

Xo.  IS.  Kamimura  Kicliisaburo  as  Josan  no  Iliya 


•*1 


c 


i 


-jK 


T 


TORII  KIYOMASU 


50.  SCENE  FROM  A  DRAMA.  THE  SECOND  ICHI¬ 
KAWA  DANJURO  SEATED,  POUNDING  SOME  SUB¬ 
STANCE  IN  A  MORTAR;  AND  THE  FIRST 
SEGAWA  KIKUNOJO  AS  A  WOMAN  DIPPING 
WATER  FROM  A  TUB. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Nakajima-ya.  About  1730. 

51.  OGINO  ISABURO  AS  A  SAMURAI  STANDING  IN  A 
PARLOR,  A  SAMISEN  AT  HIS  FEET. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Hirano-ya.  About  1735. 

52.  THE  FIRST  SEGAWA  KIKUNOJO  AS  A  WOMAN 
STANDING  BY  A  TORII. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Hirano-ya.  About  1735. 

53.  ICHIKAWA  EBIZO  AS  A  STREET  VENDOR  OF 
SINGING  INSECTS. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Hirano-ya.  About  1736. 

54.  THE  FIRST  NAKAMURA  TOMIJURO  IN  THE 
TITLE  ROLE  OF  THE  DRAMA,  “YAOYA  OSHICHI”; 
SANOGAWA  ICHIMATSU  AS  NISE  YOSHISABURO. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Urukogata-ya.  About  1742. 

55.  ONOE  KIKUGORO  IN  THE  ROLE  OF  THE  STROLL¬ 
ING  SINGER  KICHISAN. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Marusan.  Probably  1743. 


The  early  appreciation  of  the  possibilities  of  the  effective  combina¬ 
tion  of  pale  rose,  green,  and  black  is  one  of  the  striking  things  in  the 
history  of  Ukiyo-e  art.  In  this  charming  print  Kiyomasu  shows  that 
he  was  not  backward  in  mastering  the  new  means  of  expression  that 
color  printing  placed  at  his  command.  The  beauty  of  the  patterning 
is  accentuated  by  the  superbly  written  text  which  nearly  fills  the 
entire  background.  The  text  is  that  of  the  role,  a  “shosa”  or  dance 
with  witty  recitative  composed  by  the  actor. 


—31— 


TORII  KIYOMASU 


56.  SCENE  FROM  THE  DRAMA,  “MYOJIN  ONNEN 
FUTAI  KAGAME’;  TOMIZAWA  SAIJIRO  AND 
ICHIMURA  UZAEMON  IN  THE  LEADING  ROLES. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 

Nakajima-ya.  About  1744. 

The  beni,  originally  a  pale  rose,  has  faded  to  a  soft  yellow,  and 
the  green  has  become  a  slightly  deeper  dull  yellow. 

57.  SCENE  FROM  A  DRAMA.  ICHIMURA  UZAEMON 
AS  ONIYO  SHINZAEMON;  ONOE  KIKUGORO  AS 
USUGUMO;  AND  AN  UNIDENTIFIED  ACTOR  IN 
A  MINOR  ROLE. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 

Iga-ya.  About  1744. 

58.  SUSA-NO-MIKOTO  KILLING  THE  EIGHT-HEADED 
DRAGON. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 

Kamimura  Kichiemon.  1747  or  1748. 

To  understand  this  print  some  knowledge  of  the  lunar  calendar  in 
use  in  old  Japan  is  necessary.  The  beginning  of  the  year  was  deter¬ 
mined  by  astronomical  calculation,  and  New  Year’s  day  was  a  festival 
which  might  fall  at  any  time  between  the  first  of  January  and  the  last 
of  February  according  to  the  Gregorian  calendar.  The  years  were 
grouped  in  periods  or  cycles;  each  had  its  zodiacal  sign  and  was  also 
distinguished  as  positive  or  negative.  The  months,  which  had  no 
names,  being  known  by  numbers  only,  were  designated  as  large  or 
small,  according  to  whether  they  consisted  of  thirty  or  twenty-nine 
days.  As  the  sequence  of  the  large  and  small  months  varied  from  year 
to  year,  the  necessity  for  some  sort  of  a  calendar  will  be  apparent. 

In  this  print  we  have  a  “little  calendar”  for  the  year  1748.  An 
inscription  in  beni,  now  faded  to  a  pale  yellow,  reads:  Enkyo  Go 
Boshin  Tsuchi-no-e  Dai  Sho ,  that  is,  the  large  and  small  months  of  the 
dragon  year,  Enkyo  fifth  (the  same  as  Kan-en  first).  Then  in  black 
appear  a  series  of  combination  characters,  which  only  scholars  could 
read,  signifying  “First  small,  Second  large,”  and  so  on.  There  being 
thirteen  moons  in  this  year,  there  are  in  consequence  two  tenth  months, 
one  designated  as  “uro.” 

As  appropriate  to  a  dragon  year,  the  artist  illustrates  the  well- 
known  story  of  the  killing  of  the  eight-headed  dragon  which  was  over¬ 
come  when  it  became  intoxicated  through  drinking  sake  conveniently 
placed  in  eight  large  jars. 


TORII  KIYOMASU 


59-  SCENE  FROM  A  DRAMA.  SANOGAWA  ICHIMATSU 
AS  KOSUKE;  ARASHI  TOMINOSUKE  AS  OKIKU. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Nishimura-ya.  About  17S0. 

60.  SCENE  FROM  A  DRAMA.  IKUSHIMA  DAIKICHI  AS 
SHOSHO;  SANOGAWA  ICHIMATSU  AS  SOGA  NO 
GORO. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Maruko.  About  1750. 

61.  SCENE  FROM  A  DRAMA.  TOMIZAWA  SAIJIRO  AS 
A  WOMAN  ON  A  WHITE  HORSE;  SEGAWA 
KIKUNOJO  AS  A  WOMAN  LEADING  THE  HORSE; 
OTANI  HIROJI  AS  A  SAMURAI  ACCOSTING  THEM. 

Hosoe.  Beni-ye.  Signed:  Eshi  (painter)  Torii  Kiyomasu  hitsu. 
Publisher:  Urukogata-ya.  About  1750. 

62.  ICHIMURA  UZAEMON  AS  A  SAMURAI  CARRYING 
A  BASKET  HAT. 

Hosoe.  Beni-ye.  Signed :  Torii  Kiyomasu  hitsu.  Publisher : 
Urukogata-ya.  About  1752. 

The  actor  is  represented  standing  outside  a  fence  enclosing  grounds 
in  which  there  is  a  pine  tree,  and  bamboos  hung  with  poem  slips  as 
decorations  for  the  Tanabata  festival  (seventh  day  of  the  seventh 
month) . 

63.  SCENE  FROM  A  SHOSA  PERFORMANCE  BY  NAKA¬ 
MURA  KIYOSABURO  AND  ICHIMURA  KAMEZO. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher:  Iga- 
ya.  About  1753. 

Here  a  citrine  replaces  the  green.  From  this  time  forward  experi¬ 
ments  with  new  color  schemes  were  frequent  though  the  range  was 
not  wide. 

64.  SCENE  FROM  A  DRAMA.  ICHIMURA  KAMEZO 
AS  YOSAKU;  ARASHI  TOMINOSUKE  AS  KOMAN. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Mikawa-ya.  About  1754. 

One  of  the  fashions  just  before  the  use  of  a  third  color  block  came 
into  vogue,  was  the  introduction  of  larger  masses  of  black  in  the 
patterning. 


—33— 


TORII  KIYOMASU 


65.  SCENE  FROM  A  DRAMA.  ARASHI  KOROKU  A9 
MAKOMONO-MAI ;  ICHIMURA  UZAEMON  AS 
KOREMOCHE 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomasu  hitsu.  Publisher: 
Izutsu-ya.  About  1754. 


HANEKAWA  CHINCHO 

This  artist,  beloved  by  the  Japanese  for  the  esoteric  quality  of  his 
works,  was  a  samurai  born  in  1679  in  Kawaguchi,  near  Yedo,  who 
became  a  ronin  and  entered  the  studio  of  Kiyonobu.  He  was  an 
erratic  person,  worked  when  he  felt  like  it,  and  scorned  a  publisher’s 
offer  of  permanent  support,  saying  that  poverty  was  the  common  lot 
of  the  samurai.  He  was  that  rare  thing  in  Japan,  a  bachelor.  As  an 
ode  maker  he  had  high  repute.  His  paintings  were  sometimes  in 
classic  style  and  signed  Chincho  Motonobu;  and  in  his  later  days  he 
called  himself  Sando  Senkan  Koji.  His  prints  were  few  in  number 
and  are  now  extremely  rare.  He  died  on  the  22nd  day  of  the  7th 
month  of  Horeki  4  (1754),  aged  about  seventy-five. 

66.  FLOWER  ARRANGEMENT. 

Hosoe.  Urushi-ye.  Signed :  Hanekawa  Chincho  zu.  Publisher : 
Komatsu-ya.  About  1730. 

HANEKAWA  WAGEN 

This  is  a  signature  not  hitherto  recorded.  The  identity  of  the  user 
has  not  been  determined.  Possibly  Wagen  is  another  of  Chincho’s 
artist  names. 

67.  SCENE  FROM  A  DRAMA.  ICHIMURA  TAKENO- 
SUKE  AND  OGINO  ISABURO  AS  OHARAMI  (FAG¬ 
GOT  SELLERS). 

Hosoe.  Urushi-ye.  Signed:  Hanekawa  Wagen  hitsu.  Publisher: 
Hirano-ya.  About  1725. 

68.  THE  ACTOR  YAMASHITA  KINSAKU  AS  A  PED¬ 
DLER. 

Hosoe.  Urushi-ye.  Signed:  Hanekawa  Wagen  hitsu.  Publisher: 
Murata-ya.  About  1725. 


—34— 


HANEKAWA  WAGEN 


The  inscription  covering  a  part  of  the  ground  is  the  text  of  the 
actor’s  role — a  witty  recitation  composed  by  the  actor  and  given  as  an 
interlude.  These  speeches  delivered  with  a  peculiar  intonation  were 
much  enjoyed  by  the  audiences. 


KATSUKAWA  TERUSHIGE 


Nothing  is  certainly  known  about  Terushige.  He  is  supposed  to 
have  been  a  pupil  of  Kiyonobu. 


69.  ACTOR  (UNIDENTIFIED)  AS  A  GEISHA  SEATED 
ON  A  WOODEN  BENCH  AND  PLAYING  A 
SAMISEN. 

Hosoe.  Urushi-ye.  Signed:  Katsukawa  Terushige.  Publisher: 
unidentified.  About  1725. 


TORII  KIYOSHIGE 


This  artist  was  a  pupil  of  Kiyonobu.  His  prints  are  rare. 


70.  SCENE  FROM  A  DRAMA.  SAWAMURA  SOJURO  AS 
A  MAN  STANDING,  LOOKING  DOWN  AT  AN¬ 
OTHER  ACTOR  WHO  HOLDS  A  MASK  OF  DAI- 
KOKU. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyoshige  hitsu.  Publisher: 
Urukogata-ya.  About  1735. 


71.  THE  ACTOR  MATSUMOTO  KOSHIRO. 

Hashira-ye.  Hand-colored.  Signed:  Torii  Kiyoshige  hitsu.  Pub¬ 
lisher:  Murata-ya  Jihei.  About  1740. 


72.  SANOGAWA  ICHIMATSU  AS  A  YOUNG  SAMURAI 
CARRYING  A  BRANCH  OF  CHERRY  BLOSSOMS 
ACROSS  HIS  SHOULDER. 


Wide  hashira-ye.  Hand-colored.  Signed :  Torii  Kiyoshige  hitsu. 
Publisher :  Urukogata-ya.  About  1750. 


—35— 


TORII  KIYOTOMO 


TORII  KIYOTOMO 

Kiyotomo  was  a  pupil  of  Kiyonobu.  It  is  probable  that  he  died 
young. 

73-  ACTOR  (UNIDENTIFIED)  AS  A  TEA-HOUSE  WAIT¬ 
RESS. 

Hosoe.  Urushi-ye.  Signed:  Torii  Kiyotomo  hitsu.  About  1730. 

OKUMURA  MASANOBU 

The  artist  who  exercised  the  greatest  influence  on  the  development 
of  the  Ukiyo-e  school  during  the  first  half  of  the  eighteenth  century 
was  Okumura  Genpachi,  better  known  by  his  studio  name,  Okumurd 
Masanobu.  He  is  reputed  to  have  been  a  pupil  of  Kiyonobu,  but  the 
marked  individuality  of  his  style  in  all  but  his  earliest  works  indicates 
that  his  training  in  that  master’s  studio  was  not  of  long  duration.  The 
influence  of  Kaigetsudo  is  apparent  in  some  of  his  early  drawings,  and 
also  perhaps,  in  the  choice  of  the  studio  or  “brush  name”  Hogetsudo 
(moon  over  the  long  grass  studio),  though  this  does  not  appear  to 
have  been  used  by  him  until  fifteen  or  twenty  years  after  the  dispersal 
of  the  Kaigetsudo  artists  in  1714.  As  many  of  the  prints  here  shown 
attest,  he  was  fond  of  using  an  imposing  array  of  pseudonyms,  but 
his  contemporaries  commonly  called  him  Honya  (bookseller)  Gen¬ 
pachi,  from  the  fact  that  he  was  his  own  publisher  and  kept  a  book 
and  print  shop  at  the  sign  of  the  red  gourd  in  Tori-shio-cho. 

It  is  said  that  Okumura  Masanobu  was  the  first  artist  to  color 
prints  with  beni.  He  must  also  on  his  own  statement  (See  Nos.  84 
and  85  in  this  exhibition)  be  accredited  as  the  originator  of  the  pillar 
print  (called  by  him  hashira-ye) ,  which,  in  the  houses  of  the  common 
people,  took  the  place  of  the  elaborate  hashirakake,  or  polished  and 
decorated  strips  of  beautiful  wood  used  to  hang  upon  the  posts  in  the 
houses  of  wealthy  people  of  the  upper  classes.  Besides  these  he  was 
the  first  producer  of  Ukiye,  or  perspective  pictures;  and  the  phrase 
“Edo-ye  ichiryu  ganso,”  which  is  appended  to  one  of  his  early  beni-ye 
prints  is  interpreted  by  Dr.  Julius  Kurth  as  claiming  the  invention  of 
the  color  print. 

The  prints  designed  by  him  are  not  numerous,  but  are  of  great 


—36— 


OKUMURA  MASANOBC 


distinction.  No  other  artist  equaled  him  in  ability  to  produce  varied 
and  always  charming  effects  with  just  a  black  outline  and  the  two 
colors,  rose  and  green. 

The  date  of  Masanobu’s  birth  is  variously  stated  as  1685  and  1690. 
He  died,  it  is  said,  in  1764,  just  on  the  eve  of  the  great  revolution  in 
color  printing;  Mr.  Arthur  Morrison,  however,  names  1768  as  the 
date  of  his  death. 

74.  WOMAN  SEATED  ON  A  SHOGI  (WOODEN 

BENCH). 

Kakemono-ye.  Tan-ye.  Signed:  Okumura  Masanobu  zu.  Pub¬ 
lisher:  Komatsu-ya.  About  1710. 

A  remarkable  example  of  Masanobu’s  early  work.  The  clean  and 
supple  strokes  seem  to  indicate  the  artist’s  pride  in  his  skill  in  using 
the  brush.  Later  he  is  much  more  restrained  and  dignified. 

Upon  the  round  fan  held  by  the  woman  is  a  puzzle  picture  to 
which  she  points  with  a  tortoise  shell  hairpin. 

75.  GENJI  AOI. 

Yokoye.  Sumi-ye.  Not  signed.  About  1710. 

The  title  implies  a  reference  to  Prince  Genji  and  his  wife  Aoi. 
The  picture,  however,  is  that  of  an  oiran  turning  to  look  at  a  man 
who  is  standing  by  another  oiran,  his  arm  about  her  waist. 

76.  GENJI  WAKA  MURASAKI. 

Another  sheet  from  the  same  album  as  the  foregoing.  Here  the 
scene  is  a  hokan  (professional  buffoon)  singing  while  two  women 
play  an  accompaniment  on  the  samisen,  and  another  woman  looks  on. 

77.  THE  YUJO  CHOIvARO  DESPATCHING  HER  SOUL 
TO  HER  LOVER,  IN  THE  GUISE  OF  A  HORSE 
BEARING  A  LETTER. 

Kakemono-ye.  Tan-ye.  Signed:  Okumura  Masanobu  hitsu.  Pub¬ 
lisher:  Kiku-ya.  About  1715. 

The  subject  is  a  travesty  on  the  power  ascribed  to  the  Taoist  rishi, 
of  giving  their  spirits  any  desired  form  and  sending  them  on  distant 
missions. 

78.  A  TANABATA  FANTASY. 

Yokoye.  Sumi-ye.  Signed:  Okumura  Masanobu  zu.  Publisher: 
Komatsu-ya.  About  1720. 


—37— 


OKUMURA  MASANOBU 


On  bamboo  branches  hung  with  poem  slips  for  the  Tanabata 
festival  and  arranged  in  the  form  of  a  boat,  an  oiran  is  seated  writing 
a  poem,  a  man  lies  outstretched  reading  one,  and  a  kamuro  simulates 
a  boatman  poling  the  craft  along. 

79-  YOUNG  SAMURAI  SHIELDING  A  WOMAN  FROM 
A  SHOWER  WITH  A  CLOAK  RAISED  UPON  ONE 
OF  HIS  SWORDS. 

Hosoe.  Urushi-ye.  Not  signed.  About  1720. 

80.  STROLLING  PLAYER  AND  A  MONKEY. 

Hosoe.  Urushi-ye.  Signed :  Okumura  Masanobu  hitsu.  About 
1725. 

The  player’s  kimono  bears  various  devices,  among  them  circular 
compositions  giving  the  points  of  the  compass  and  the  signs  of  the 
zodiac. 

81.  THE  SECOND  ICHIKAWA  DANJURO  AS  A 
SAMURAI  STANDING  IN  A  DRAMATIC  ATTI¬ 
TUDE,  WITH  FOLDED  ARMS. 

Hosoe.  Urushi-ye.  Signed:  Okumura  Masanobu.  Publisher: 
Okumura  Masanobu.  About  1725. 

This  print  was  reproduced  as  one  of  the  illustrations  for  Pro¬ 
fessor  Fenollosa’s  “An  Outline  of  the  History  of  Ukiyo-ye.’’ 

82.  BURLESQUE  PERFORMANCE  IN  A  NOBLEMAN’S 
MANSION. 

Yokoye.  Hand-colored.  Signature  on  left  hand  margin  trimmed 
off.  Publisher:  Okumura  Masanobu.  About  1735. 

An  example  of  the  Ukiye  (perspective  picture)  of  which  Masano¬ 
bu  was  the  originator.  The  performers  represent  the  Shichi-fuku-jin, 
or  Seven  Fortune  Beings,  commonly  but  erroneously  called  the  Seven 
Gods  of  Good  Fortune. 

83.  WOMAN  READING  A  BOOK. 

Kakemono-ye.  Hand-colored.  Signed :  Hogetsudo.  Hashira-ye. 
.  Okumura  Bunkaku  Masanobu  Sho  hitsu.  About  1749. 

A  superb  example  of  Masanobu’s  work  at  the  height  of  his  power. 
The  signature  “sho  hitsu,”  i.  e.,  genuine  brush,  indicates  that  the 
design  was  from  the  master’s  own  hand  and  not  merely  a  production 


— 3S— 


OKUMURA  MASANOBU 


issued  by  him  as  the  publisher.  Being,  as  a  rule,  mounted  as  kakemono 
and  kept  hanging  until  entirely  discolored,  Masanobu’s  prints  in  this 
form  are  of  extreme  rarity. 


84.  THE  ACTOR  SANOGAWA  ICHIMATSU. 

\  ery  tall  hashira-ye,  42%x6%  inches.  Signed :  Hogetsudo 
Tanchosai  Okumura  Bunkaku  Masanobu  Sho  hitsu  Hashira-ye 
Kongen.  Seal:  Tanchosai.  Probably  1750. 

This  and  the  following  number  are  very  important  prints.  On 
both  Masanobu  signs  as  originator  (kongen)  of  the  pillar  print 
(hashira-ye) . 

85.  A  YOUNG  MAN  IN  KOMUSO  ATTIRE. 

Wide  hashira-ye.  Hand-colored.  Signed :  Hogetsudo  Shomei 
Kongen.  Hashira-ye  Okumura  Bunkaku  Masanobu  Sho  hitsu. 
About  1749. 


86.  ONOE  KIKUGORO  AS  SHIRAI  GOMPACHI. 

Wide  Hashira-ye.  Hand-colored.  Signed :  Hogetsudo  Shomei 
Okumura  Bunkaku  Masanobu  Sho  hitsu.  Seal :  Tanchosai.  About 
1745. 


87.  AN  OIRAN  STANDING  AND  HER  KAMURO 
SEATED,  READING  A  LETTER. 

Wide  hashira-ye.  Hand-colored.  Signed :  Hogetsudo  Shomei 
Kongen.  Okumura  Bunkaku  Masanobu  Sho  hitsu.  About  1745. 

Apparently  these  large  hand-colored  prints,  which  were  commonly 
mounted  as  kakemono,  continued  to  be  made  for  several  years  after 
the  invention  of  color  printing,  which  was  used  at  first  for  small 
pieces  only. 

88.  WOMAN  HOLDING  A  BATTLEDORE  AND  A  LET¬ 
TER. 

Wide  hashira-ye.  Hand-colored.  Signed :  Hogetsudo  Shomei. 
Okumura  Bunkaku  Masanobu  Sho  hitsu.  Seal :  Tanchosai.  About 
1748. 

The  pattern  upon  the  woman’s  kimono  is  composed  of  a  blossom¬ 
ing  cherry  tree  and  wind  screens  for  use  at  picnics,  the  curtains  bear¬ 
ing  the  names  and  mon  (badges)  of  popular  actors. 


—39— 


OKUMURA  MASANOBU 


89.  LOVERS  WALKING  UNDER  AN  UMBRELLA;  A 
MAPLE  TREE  IN  AUTUMNAL  FOLIAGE  IN  THE 
BACKGROUND. 

Hosoe.  Beni-ye.  Signed :  Hogetsudo  Okumura  Masanobu  Sho 
hitsu.  About  1748. 


90.  SCENE  FROM  A  DRAMA:  ICHIMURA  UZAEMON 
AS  TAJIMA-YA  SAIJIRO,  AND  SEGAWA  KIKUNOJO 
AS  WAKAKUSA-YA  ONATSU  STANDING  TO¬ 
GETHER  NEAR  A  TORII. 

Hosoe.  Beni-ye.  Signed :  Hogetsudo  Shomei,  Okumura  Bunkaku 
Masanobu  Sho  hitsu.  Probably  1750. 

The  inscriptions  in  beni  are  an  ode  and  an  advertisement  of  prints 
by  Masanobu  who  was  his  own  publisher. 

91.  COOLING  OFF  IN  THE  EVENING  AT  RYOGOKU. 

Unsevered  hosoe  triptych.  Sumi-ye  from  key  block.  Signed : 
Shomei  Hogetsudo  Okumura  Bunkaku  Masanobu  Sho  hitsu.  About 
1745. 

The  title  is  that  given  by  the  artist.  At  the  right  a  young  man  is 
talking  to  a  girl  seated  on  a  wooden  bench;  in  the  center  a  young 
woman  is  playing  with  a  dog;  at  the  left  a  woman  is  walking  with 
her  lover. 

Impressions  taken  from  key  blocks  are  interesting  as  they  show 
the  appearance  of  the  artist’s  original  drawings. 

92.  BOYS  AT  PLAY. 

Oban.  Beni-ye.  Signed :  Hogetsudo  Okumura  Bunkaku  Masanobu 
ga.  About  1750. 

93.  TWO  GEISHAS  ATTENDED  BY  A  BOY  BEARING  A 
BOX,  ONE  READING  A  PLAY-BILL  AS  SHE  WALKS. 

Oban.  Sumi-ye  from  key  block.  Signed :  Hogetsudo  Tanchosai 
Okumura  Bunkaku  Masanobu  ga.  1750. 

In  the  color  impressions  of  this  print  a  third  tint  is  produced  by 
printing  green  over  beni  red.  A  reproduction  is  given  in  color  in  the 
catalogue  of  an  exhibition  at  the  Fine  Art  Society,  London,  in  1909. 

The  patterns  on  the  garments  make  it  possible  to  date  this  print 
and  the  two  succeeding  numbers  with  almost  absolute  certainly.  A 
number  of  dated  prints  show  that  small  checks  were  in  fashion  in 
1750.  They  do  not  appear  to  have  remained  in  vogue  after  that  year. 


-^0— 


OKUMURA  MASANOBU 


94.  THREE  GEISHAS  ATTIRED  AS  COURT  NOBLES 
SEATED  UNDER  A  MAPLE  TREE  IN  AUTUMN, 
HEATING  SAKE  OVER  A  FIRE  MADE  FROM  THE 
FALLEN  LEAVES. 

Oban.  Beni-ye.  Signed  :  Hogetsudo  Tanchosai  Okumura  Bunkaku 
Masanobu  ga.  1750. 

The  subject  of  this  print  is  an  Ukiyo-e  version  of  a  well-known 
story.  The  emperor  Takakura  had  very  beautiful  maple  trees  in  the 
grounds  of  his  palace.  One  night  a  storm  brought  much  of  their  au¬ 
tumnal  foliage  to  the  ground,  and  in  the  morning  the  attendants  made 
a  fire  of  them  to  warm  sake.  The  nobles  feared  that  this  would  in¬ 
cense  the  emperor  but  he  merely  laughed  and  said  the  attendants  must 
have  been  thinking  of  a  classic  Chinese  ode  about  making  a  fire  with 
maple  leaves. 

95-  OIRAN  INSTRUCTING  THEIR  KAMURO  (GIRL 
ATTENDANTS)  IN  WRITING,  READING  AND  DE¬ 
LIVERING  LETTERS. 

Unsevered  hosoe  triptych.  Beni-ye.  Signed:  Shornei  Hogetsudo 
Okumura  Bunkaku  Masanobu  Sho  hitsu.  1750. 

This  print,  which  is  highly  regarded  by  collectors  and  connoisseurs, 
is  looked  upon  as  one  of  the  most  charming  beni-ye  known. 

96.  OIRAN  OF  THE  THREE  CAPITALS,  EDO,  KYOTO, 
OSAKA. 

Unsevered  hosoe  triptych.  Beni-ye.  Signed :  Shomei  Hogetsudo 
Okumura  Bunkaku  Masanobu  Sho  hitsu.  About  1750. 

Another  work  of  great  elegance  and  charm.  After  the  year  1750 
Masanobu,  who  had  reached  the  age  of  sixty  or  sixty-five,  appears  to 
have  designed  very  few  prints. 

97.  OIRAN  OF  OSAKA. 

Right-hand  sheet  of  the  preceding  triptych.  Shows  the  green 
faded  to  a  pale  yellow  while  the  beni  has  nearly  disappeared. 


OKUMURA  TOSHINOBU 

Toshinobu  was  the  son  of  Okumura  Masanobu.  He  was  the  pos¬ 
sessor  of  marked  talent,  and  designed  a  considerable  number  of  excel¬ 
lent  prints  before  an  early  death  brought  his  career  to  an  end.  His 
known  works  are  all  urushi-ye  of  the  hosoe  size. 


OKUMURA  TOSHINOBU 


98.  TSUTSUI  KICHIJURO  AS  A  SAMURAI  WEARING  A 
BASKET  HAT. 

Hosoe.  Urushi-ye.  Signed:  Yamato  Gako  Okumura  Toshinobu 
hitsu.  About  1725. 

99.  SAWAMURA  SOJURO  AS  A  SAMURAI  WEARING  A 
BASKET  HAT. 

Hosoe.  Urushi-ye.  Not  signed.  About  1730. 

100.  WOMAN  DRESSING  HER  HAIR. 

Hosoe.  Urushi-ye.  Not  signed.  About  1732. 

101 .  ARASHI  WAKANO  AS  A  WOMAN  STANDING  BE¬ 
NEATH  A  CHERRY  TREE  IN  BLOOM. 

Hosoe.  Urushi-ye.  Signed:  Yamato  Gako  Okumura  Toshinobu 
hitsu.  Publisher :  Komatsu-ya.  About  1735. 


TSUNEKAWA  SHIGENOBU 


This  appellation  is  probably  an  early  studio  name  of  Nishimura- 
Shigenobu. 

102.  THE  SECOND  ICHIKAWA  DANJURO  IN  THE  ROLE 
OF  SUKUNE  KANEMICHI. 

Hosoe.  Urushi-ye.  Signed :  Gako  (artist)  Tsunekawa  Shigenobu 
hitsu.  Publisher:  Yamato-ya.  About  1720. 


NISHIMURA  SHIGENOBU 

Little  is  known  about  the  artist  who  used  the  studio  name  Nishi- 
mura  Shigenobu.  As  a  painter  he  was  eccentric  in  his  mannerisms. 
His  prints,  though  rare,  are  usually  excellent  in  design.  It  is  gen¬ 
erally  believed  that  he  was  the  father  of  Shigenaga. 

103.  SANOGAWA  MANKIKU  AS  A  FLOWER  VENDOR. 

Hosoe.  Urushi-ye.  Signed:  Yamato  eshi  (Japanese  artist)  Nishi- 
mura  Shigenobu  hitsu.  Publisher :  Izutsu-ya.  About  1725. 


—42— 


NISHIMURA  SHIGENAGA 


NISHIMURA  SHIGENAGA 

Nishimura  Magosaburo  Shigenaga,  known  also  by  the  studio  name 
Senkado,  was  the  son,  born  in  1697,  of  Nishimura  Shigenobu.  He  is 
said  to  have  kept  a  tea-house  in  Tori  Abura  cho,  and  afterward  to 
have  moved  to  the  part  of  Edo  known  as  Kanda,  and  established  him¬ 
self  as  a  publisher.  As  an  artist  he  had  decided  ability  and  is  counted 
as  one  of  the  distinguished  men  of  his  time.  His  prints,  however,  are, 
as  a  rule,  less  charming  than  those  of  the  Torii  artists,  and  he  is 
likely  to  be  known  chiefly  as  the  master  under  whom  Ishikawa 
Toyonobu,  Suzuki  Harunobu,  and  others  of  the  foremost  artists  of 
the  school  were  trained.  His  death  is  said  to  have  occurred  in  1756. 

104.  SAWAMURA  SOJURO  AS  USAMI  NO  SABURO 
HOLDING  A  PUPPET. 

Hosoe.  Urushi-ye.  Not  signed.  About  1720. 

105.  A  KOSHO  (PAGE  IN  A  DAIMYO’S  HOUSEHOLD) 
CARRYING  CHRYSANTHEMUMS  IN  A  BAMBOO 
FLOWER  HOLDER. 

Hosoe.  Urushi-ye.  Signed:  Yamato  Gako.  Nishimura  Shigenaga 
hitsu.  Publisher:  Iga-ya.  About  1728. 


106.  SCENE  FROM  A  DRAMA:  SANJO  KANTARO  AND 
SEGAWA  KIKUNOJO. 

Hosoe.  Urushi-ye.  Signed:  Nishimura  Magosaburo.  Publisher: 
Urukogata-ya.  About  1735. 

107.  GIRL  HOLDING  AN  UMBRELLA  OVER  A  YOUNG 
SAMURAI:  IN  THE  BACKGROUND  A  WOMAN 
LOOKING  AT  THEM  FROM  A  HOUSE  ON  A  CLIFF. 

Hosoe.  Urushi-ye.  Signed:  Nishimura  Shigenaga  hitsu.  Pub¬ 
lisher  :  Iga-ya.  About  1735. 


108.  THE  BIJIN  KINKO. 

Hosoe.  Urushi-ye.  Signed :  Nishimura  Shigenaga  hitsu.  Pub¬ 
lisher :  Iga-ya.  About  1736. 

Kinko  (in  Chinese,  Ch’ing  kao),  one  of  the  Rishi,  or  sages,  of 
the  Taoists,  having  long  absented  himself  from  the  haunts  of  men, 
reappeared  riding  upon  the  back  of  a  huge  carp  as  it  leaped  from  the 


—43— 


NISHIMURA  SHIGENAGA 


water.  The  substitution  of  bijin  (beautiful  women)  for  sages  was  a 
form  of  pleasantry  much  indulged  in  by  the  artists  of  the  Popular 
School. 

109.  A  BIJIN  BOKUDO. 

Hosoe.  Beni-ye.  Signed:  Nishimura  Shigenaga  hitsu.  About 
1743. 

A  large  proportion  of  the  works  of  the  Popular  School  are  more 
or  less  humorous.  The  Japanese  analogue  of  the  European  shepherd 
with  his  pipes  is  the  bokudo  or  boy  who  looks  after  the  carabao 
(water  buffalo)  and  whiles  away  the  hours  by  playing  upon  a  yokobue 
(flute).  In  fine  weather  the  sound  of  the  flutes  played  by  these  boys 
is  one  of  the  common  features  of  country  life  in  Japan.  When  the 
day  s  work  is  done  the  bokudo  usually  rides  home  upon  one  of  the 
animals  he  has  in  charge.  In  art  therefore  there  is  a  poetical  associa¬ 
tion  of  ideas  between  the  carabao  and  a  boy  with  a  flute.  Shigenaga 
makes  fun  of  this  by  putting  a  young  woman  in  place  of  the  usual 
boy  and  having  the  animal  led  by  another  woman. 

no.  ARASHI  TOMINOSUKE  AS  THE  SHIRABYOSHI 
OISO  NO  TORA;  AND  OTANI  RYUZAEMON  AS 
THE  MANZAI  DANCER  KAJIWARA:  ICHIMURA 
THEATRE. 

Hosoe.  Beni-ye.  Signed:  Nishimura  Shigenaga  hitsu.  Publisher: 
Mikawa-ya.  About  1743. 

The  performance  wTas  a  dramatic  interlude:  the  text  composed  by 
the  actors  appears  on  the  background  of  the  print. 

hi.  A  MUSICAL  PERFORMANCE  BY  SIX  POPULAR 
ACTORS. 

Unsevered  hosoe  triptych.  Beni-ye.  Signed:  Senkado  Nishimura 
Shigenaga  Sho  hitsu.  About  1750. 

Only  three  instruments  are  used,  each  being  played  by  two  actors 
as  a  pair  of  lovers.  At  the  right  Onoe  Kikugoro  and  Segawa 
Kikunojo  play  upon  a  kokyu ;  in  the  centre  Nakamura  Schichisaburo 
and  Arashi  Hinaji  play  the  samisen ;  at  the  left  Sanogawa  Ichimatsu 
and  an  actor  of  the  Takinaka  line  play  the  yokobue. 


ISHIKAWA  TOYONOBU 

One  of  the  foremost  among  the  Ukiyo-e  artists  of  the  middle  of  the 


44- 


ISHIKAWA  TOYONOBli 


eighteenth  century  was  Ishikawa  Toyonobu.  He  was  born  in  the 
year  1 7 1 1  >  ar*d  is  said  to  have  been  a  remarkably  handsome  man. 
While  a  pupil  in  the  studio  of  Nishimura  Shigenaga  he  was  so  greatly 
admired  by  the  daughter  of  the  proprietor  of  an  inn  called  Kasuya, 
in  Kodenma-cho,  that  a  marriage  was  arranged  between  them.  Hav¬ 
ing  thus  become  the  inn-keeper’s  son-in-law,  Toyonobu,  whose  per¬ 
sonal  name  was  Ishikawa  Hichibei,  became  known  locally  as  Kasuya 
Hichibei.  To  his  ability  as  an  artist  the  prints  shown  in  this  exhibition 
bear  witness.  After  he  succeeded  to  the  business  of  his  father-in-law 
which  was  presumably  about  the  beginning  of  the  Meiwa  period  he 
gave  up  print  designing  as  a  vocation,  though  he  continued  to  publish 
an  occasional  work  from  time  to  time,  his  latest  probably  being  one 
of  those  (No.  145)  here  exhibited.  He  lived  to  the  age  of  75,  dying 
on  the  25th  of  the  5th  month  of  1785. 

1 12.  YOUNG  WOMAN  HOLDING  A  BATTLEDORE  AND 
A  SHUTTLECOCK;  AND  HOTEI  LOOKING  OVER 
HER  SHOULDER. 

Wide  hashira-ye.  Hand-colored.  Signed:  Tanjodo  Ishikawa 

Shuha  Toyonobu  zu.  Publisher:  Murata-ya  Jihei.  About  1738. 

1 13.  GEISHA  HOLDING  A  BOOK  AND  A  BACHI  (AN 
IMPLEMENT  USED  IN  PLAYING  THE  SAMISEN). 

Wide  hashira-ye.  Urushi-ye.  Signed:  Tanjodo  Ishikawa  Shuha 
Toyonobu  zu.  Publisher:  Mark  not  identified.  About  1738. 

1 14.  AN  OIRAN. 

Wide  hashira-ye.  Hand-colored.  Signed:  Tanjodo  Ishikawa 

Shuha  Toyonobu  zu.  Publisher:  Murata-ya  Jihei.  About  1740. 

1 15.  YOUNG  WOMAN  COMING  FROM  THE  BATH. 

Wide  hashira-ye.  Hand-colored.  Signed:  Tanjodo  Ishikawa 

Shuha  Toyonobu  zu.  Publisher:  Murata-ya  Jihei.  About  1740. 

1 16.  THE  FIRST  SANOGAWA  ICHIMATSU  AS  A  YOUNG 
MAN  PLAYING  A  YOKOBUE  (FLUTE). 

Hashira-ye.  Hand-colored.  Signed:  Tanjodo  Ishikawa  Shuha 
Toyonobu  zu.  No  publisher’s  mark  but  print  has  been  much  cut 
down.  About  1742. 

1 1 7.  WOMAN  OPENING  AN  UMBRELLA. 

Wide  hashira-ye.  Hand-colored.  Signed:  Tanjodo  Ishikawa 

Shuha  Toyonobu  zu.  Publisher:  Urukogata-ya.  About  1745. 


— 45 — 


ISHIKAWA  TOYONOBU 


118.  THE  FIRST  SANOGAWA  ICHIMATSU  AS  A  MAN 

CARRYING  AN  ODAWARA  LANTERN  AND  A 
CLOSED  UMBRELLA. _ 

Wide  hashira-ye.  Hand-colored.  Signed:  Tanjodo  Ishikawa 

Shuha  Toyonobu  zu.  About  1745. 

1 19.  WOMAN  WRITING  A  LETTER. 

Wide  hashira-ye.  Hand-colored.  Signed:  Tanjodo  Ishikawa 

Shuha  Toyonobu  zu.  Publisher :  Urukogata-ya.  About  1748. 

120.  THE  FIRST  SEGAWA  KIKUNOJO  AS  A  WOMAN 
READING  A  LETTER. 

Wide  hashira-ye.  Hand-colored.  Signed:  Tanjodo  Ishikawa 

Shuha  Toyonobu  zu.  Publisher:  Urukogata-ya.  About  1748. 

1 2 1 .  WOMAN  HOLDING  A  SMALL  LANTERN  AND  A 
ROUND  FAN  BEARING  THE  MON  OF  SANOGAWA 
ICHIMATSU. 

Wide  hashira-ye.  Hand-colored.  Signed:  Tanjodo  Ishikawa 

Shuha  Toyonobu  zu.  Publisher:  Urukogata-ya.  About  1750. 
The  grammar  of  the  line  composition  in  this  delightful  print  is 
flawless. 


122.  WOMAN  HOLDING  A  PIPE. 

Companion  print  to  the  foregoing.  Same  size,  signature,  pub¬ 
lisher,  and  date. 


123.  SANOGAWA  ICHIMATSU  AS  A  YOUNG  WOMAN 
HOLDING  A  PUPPET. 

Chuban.  Beni-ye.  Signed:  Tanjodo  Ishikawa  Shuha  Toyonobu  zu. 
Publisher :  Urukogata-ya.  1750. 

124.  SANOGAWA  ICHIMATSU  AS  A  YOUNG  MAN 
SEATED  ON  A  BENCH,  SHOWING  A  BOOK  TO 
TWO  GIRLS  STANDING  BEFORE  HIM. 

Oban.  Beni-ye.  Signed:  Tanjodo  Ishikawa  Shuha  Toyonobu  zu. 
Publisher:  Maruko.  About  1750. 

125.  A  GEISHA  DANCING  THE  HARUGOMA  ODORI 
WHILE  A  COMPANION  PLAYS  A  SAMISEN  AND 
ANOTHER  BEATS  A  DRUM. 

Oban.  Beni-ye.  Signed:  Tanjodo  Ishikawa  Shuha  Toyonobu  zu. 
About  1750. 


—46— 


KIYOMASU 

No.  8i».  A  Bijin  (Beautiful  Woman) 


KIYOMASU 

No.  36.  The  actor  Kanto  Koroku  in  a  female  role 


KIYOMASU 

Calendar  for  1748.  Susa  no  Mikoto  killing 
eight-headed  dragon 


No.  58. 


the 


OKUMURA  MASANOBU 

Xo.  9-t.  Geishas  as  court  nobles  heating  sake  with 
of  maple  leaves 


a  fire 


ISHIKAWA  TOYONOBU 

126.  THREE  YOUNG  WOMEN  HOLDING  PUPPETS. 

Unsevered  hosoe  triptych.  Beni-ye.  Signed :  Ishikawa  Toyonolu 
hitsu.  About  1750. 

Although  designed  for  cutting  into  three  sheets  if  desired,  the 
three  together  make  an  effective  composition. 


127.  STREET  SCENE  IN  FRONT  OF  A  SHOP  FOR  THE 
SALE  OF  COSMETICS  AND  ACTOR’S  WIGS. 

Yokoye.  Beni-ye.  Signed :  Ishikawa  Toyonobu  hitsu.  Publisher  : 
Urukogata-ya.  1750. 


128. 


THREE  WAKASHU 
ATTIRE). 


(YOUNG  MEN  IN  WOMEN’S 


Unsevered  hosoe  triptych.  Beni-ye.  Signed :  Ishikawa  Toyonobu 
hitsu.  Publisher:  Kamimura  Kichiemon.  About  1752. 


129. 


THREE  PAIRS  OF  LOVERS 
BRELLAS. 


WALKING  UNDER  UM- 


Unsevered  hosoe  triptych.  Beni-ye.  Signed:  Ishikawa  Toyonobu 
hitsu.  Publisher:  Maruko.  About  1752. 

In  marvelous  preservation ;  the  colors  as  when  first  printed. 


130.  TAKING  THE  FRESH  BREEZE  AT  RYOGOKU. 

Unsevered  hosoe  triptych.  Beni-ye.  Signed :  Ishikawa  Toyonobu 
hitsu.  Publisher:  Kamimura  Kichiemon.  About  1752. 

The  title  is  that  written  by  the  artist.  The  scene  is  the  bank 
of  the  Sumida  river  at  Ryogoku,  Edo. 


131.  FOUR  POPULAR  ACTORS. 

Yokoye.  Beni-ye.  Signed:  Ishikawa  Toyonobu  zu.  Publisher- 
Maruko.  About  1752. 

From  right  to  left :  Sanogawa  Ichimatsu  as  a  woman  holding 
a  large  hat,  Nakamura  Kiyozo  as  a  samurai j  Sanogawa  IVlankiku  as 
a  woman  holding  a  book ;  Nakamura  Kumetaro  as  a  samurai  holding 
a  bunch  of  narcissus. 


132.  SAYONARA. 

Hosoe.  Beni-ye.  Signed:  Ishikawa  Toyonobu  hitsu.  Publisher- 
Urukogata-ya.  About  1752. 


—47— 


ISHIKAWA  TOYONOBU 


133.  SCENE  FROM  THE  DRAMA  “UTAGAWA  SHIRO- 
GORO  KO”:  SAWAMURA  SOIURO  AS  MATSUO; 
AZUMA  TOZO  AS  SAKURAMARU. 

Oban.  Beni-ye.  Signed:  Tanjodo  Ishikawa  Shuha  Toyonobu  zu. 
Publisher :  Urukogata-ya.  About  1753. 


134.  THE  FIRST  NAKAMURA  TOMIJURO  IN  A  FEMALE 
ROLE. 

Narrow  Oban.  Beni-ye.  Signed:  Ishikawa  Toyonobu.  Publisher: 
Nishimura;  shop  name  Eijudo.  About  1754. 


135.  YOUNG  LOVERS  WALKING  UNDER  AN  UM¬ 
BRELLA. 

Oban.  Beni-ye.  Signed:  Tanjodo  Ishikawa  Shuha  Toyonobu  zu. 
Publisher:  Urukogata-ya.  About  1754. 


136.  THE  RIDING  LESSON. 

Large  Yokoye.  Hand-colored.  Signed:  Ishikawa  Shuha  Toyonobu 
zu.  No  publisher’s  mark. 

This  is  a  very  unusual  print,  the  background  being  printed  while 
the  rest  of  the  color  is  applied  by  hand. 


137.  MUSUME  UNDER  A  WILLOW  TREE  IN  A  GALE 
OF  WIND. 

Hashira-ye.  Beni,  pearl  gray,  and  green.  Signed :  Ishikawa  Toyo¬ 
nobu  zu.  Publisher :  Maruko.  About  1760. 


138.  MUSUME  LEAPING  FROM  KIYOMIZU  TEMPLE 
WITH  AN  UMBRELLA  AS  A  PARACHUTE. 

Hashira-ye.  Beni,  pearl  gray,  and  yellow.  Signed:  Tanjodo  Ishi¬ 
kawa  Shuha  ga.  Publisher:  Urukogata-ya.  About  1760. 


139.  SEGAWA  KIKUNOJO  AS  A  WOMAN  CARRYING  AN 
UMBRELLA. 

Oban  hosoe.  Beni,  taisha,  and  blue.  Signed:  Tanjodo  Ishikawa 
Shuha  Toyonobu  zu.  Publisher:  Urukogata-ya.  About  1761. 

Here  Toyonobu  successfully  imitates  the  style  of  Kiyomitsu.  The 
drawing  has  an  added  charm  of  his  own. 


ISHIKAWA  TOYONOBU 


140.  YOUNG  WOMAN  STANDING  IN  A  PARLOR,  READ¬ 
ING  A  LETTER. 

Oban.  Beni,  Indian  red,  and  blue.  Signed:  Tanjodo  Ishikawa 
Shuha  Toyonobu  zu.  About  1761. 


141.  AN  AWABI  SHELL  DIVER  STANDING  ON  THE 
BEACH  AT  ISE  WRINGING  THE  WATER  FROM 
HER  GARMENT. 

Hashira-ye.  Printed  in  beni,  yellow,  and  blue.  Signed:  Tanjodo 
Ishikawa  Shuha  ga.  Publisher:  Tomioka.  About  1762. 


142.  AN  OIRAN  SEATED  UPON  HER  BED,  WRITING  AN 

INSCRIPTION  ON  AN  UCHIWA  (ROUND  FAN). 

Koban.  Full  color.  Signed :  Ishikawa  Shuha.  Seal :  Ishikawa. 

Imprint:  Kyosen  Ren  Chu.  1764  or  1765. 

Calendar  for  1765  made  in  all  probability  toward  the  end  of  the 
preceding  year.  The  inscription  on  the  fan  reads:  “Meiwa  ni  ki-no-e 
tora.  The  numerals  for  the  large  months  appear,  in  strangely 
formed  characters,  in  the  pattern  with  which  the  bed  is  ornamented. 


143.  AMAGOI  KOMACHI  (PRAYING-FOR-RAIN  KOMA- 
CHI). 

Chuban.  Full  color.  Not  signed.  1764  or  1765. 

Calendar  for  1765.  The  numerals  for  the  large  months  appear 
as  the  pattern  on  the  servant’s  kimono. 

In  the  loan  exhibition  of  March,  1908,  this  print  was  ascribed  to 
Kiyomitsu.  That  attribution  is  now  believed  to  have  been  erroneous. 
The  resemblance  to  prints  in  the  Harunobu  manner  by  Toyonobu 
which  have  come  to  light  since  1908  makes  it  more  probable  that  the 
ascription  should  be  to  that  artist. 

The:  subject  is  a  modern  analogue  of  one  of  the  famous  incidents 
in  the  life  of  the  poetess  Ono  no  Komachi. 

144.  LOVERS  MEETING  AT  A  WELL. 

Koban.  Full  color.  Signed:  Ishikawa  Shuha  zu.  Publisher: 
Urukogata-ya. 

In  this  print  Toyonobu  tries  his  hand  at  a  design  in  the  new  style 
originated  by  Suzuki  Harunobu.  It  is  almost  the  latest  of  his  works. 
Prosperous  and  well  along  in  years  he  had  at  the  time  it  was  done, 
nearly  given  up  print  designing. 


— 49 — 


ISHIKAWA  TOYONOBU 


The  subject  is  a  modern  analogue  of  the  classic  story  of  a  boy 
and  girl  who  played  together  by  a  well  and  formed  an  attachment 
that  neither  time  nor  separation  could  subdue. 

145.  AN  OIRAN  SEATED  BEFORE  A  TANK  OF  GOLD¬ 
FISH;  HER  KAMURO  STANDING  AND  HOLDING 
A  TURTLE. 

Chuban.  Signed  :  Ishikawa  Shuha  ga.  Series  :  Enshi  Shichi-fuku- 
jin.  About  1776. 

This  is  an  interesting  print.  The  title  shows  that  it  is  one  of  a 
set  of  seven,  representing  women  as  personifications  of  the  Seven 
Fortune  Beings.  Toyonobu’s  age  when  it  was  produced  was  about 
sixty-five  years.  So  long  as  he  designed  prints  it  is  evident  that  he 
meant  to  be  in  the  fashion.  Here  the  style  of  Koryusai  has  been  so 
completely  assimilated  that  were  it  not  for  the  signature  it  would 
almost  certainly  be  ascribed  to  that  artist.  It  is  the  print  described 
by  Professor  Fenollosa  in  “The  Masters  of  Ukioye”  where  it  is  listed 
as  No.  169. 


TORII  KIYONOBU  II 

The  identity  of  the  artist  who  designed  the  beni-ye  prints  bearing 
the  signature  Torii  Kiyonobu  has  greatly  puzzled  students  of  the 
history  of  the  Ukiyo-e  school.  As  the  family  records  of  the  Torii 
line  make  no  mention  of  a  second  Kiyonobu  nor  indicate  that  Kiyo- 
masu’s  short-lived  son  Torii  Shiro  designed  any  prints  Mr.  Arthur 
Morrison  in  “The  Painters  of  Japan”  expresses  the  opinion  that  the 
prints  in  question  were  designed  by  the  first  Kiyonobu  and  were 
issued,  therefore,  prior  to  the  year  1729  when  his  death  occurred.  This 
view  is  echoed  by  Mr.  Laurence  Binyon  in  his  “Painting  in  the  Far 
East.”  So  far  as  the  date  is  concerned,  the  solution  of  the  enigma 
comes  through  the  chronicle  of  the  Edo  stage.  The  actors  represented 
in  the  beni-ye  signed  Kiyonobu,  were  of  a  period  later  than  1729,  as 
for  instance  the  first  Sanogawa  Ichimatsu  who  made  his  debut  in 
Kyoto  in  the  winter  of  1733-1734  (Kioho  18),  and  whose  first  appear¬ 
ance  in  Edo  was  in  November,  1741  (Kwampo  1),  in  one  of  the 
wakashu  (young  man)  roles  for  which  he  is  famous.  And  the 
inscription  on  the  Print  No.  157  in  this  exhibition  states  that  it  repre¬ 
sents  Ichikawa  Ebizo,  which  fixes  the  date  of  the  print  as  later  than 


—50— 


TORII  KIYONOBU  II 


1 735>  as,  after  the  death  of  the  first  Danjuro  in  1704,  the  name 
Ichikawa  Ebizo  was  not  used  until  the  second  Danjuro  adopted  it  in 
November,  1735  (Kyoho  20).  These  prints  then,  furnish  indubi¬ 
table  proof  that  there  was  a  second  Torii  Kiyonobu,  who  can  hardly 
have  been  other  than  Kiyomasu’s  son  Torii  Shiro.  And  proof  that 
hand-colored  prints  were  made  as  late  as  1742  is  afforded  by  Nos.  53 
and  1 16  which  represent  Ichimatsu  and  cannot  therefore  be  earlier 
than  the  date  of  his  debut  on  the  Edo  stage. 


146.  THE  ACTOR  ICHIMURA  UZAEMON  AS  A  SAMU¬ 
RAI  IN  WINTER  COSTUME. 

Hosoe.  Beni-ye.  Signed:  Gako  (artist)  Torii  Kiyonobu,  hitsu. 

Publisher :  Kamimura.  About  1743. 

This  is  a  specimen  of  the  earliest  style  of  the  beni-ye  print,  done, 
apparently,  within  the  first  year  after  printing  from  color-blocks  came 
into  vogue.  The  new  process  at  once  caused  a  modification  in  the 
designs,  and  particularly  in  the  patterns  with  which  garments  were 
enriched.  Details  became  finer  and  more  exquisitely  worked  out.  The 
masterly  disposition  of  the  pale  rose  and  green  masses  in  this  com¬ 
position  is  noteworthy. 


147.  OTANI  HIROJI  AND  SANOGAWA  ICHIMATSU  IN 
A  SCENE  FROM  THE  DRAMA  “YANONE  SOGA.” 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu  hitsu.  Publisher: 
Iga-ya.  About  1744. 


148.  SCENE  FROM  A  DRAMA.  SEGAWA  KIKUJIRO  AS 
UKARUMO,  WIFE  OF  HASEBA;  AND  SANOGAWA 
ICHIMATSU  AS  THE  TSUZUMI  PLAYER  GEN- 
SANMI  YORIMASA. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Nakajima-ya.  About  1746. 


149.  ICHIMURA  KAMEZO  IN  THE  ROLE  OF  SOGA  NO 
GORO. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Nakajima-ya.  About  1746. 

The  softness  and  brilliance  of  the  color  attests  the  growing  skill 
of  the  printers. 


—51— 


TORXI  KIYONOBU  II 


150.  YOSHIZAWA  AYAME  AS  A  COURT  LADY  STAND¬ 
ING  ON  THE  ENGAWA  (VERANDA)  OF  A  HOUSE; 
AND  A  FALCON  BRINGING  HER  A  PACKET  AT¬ 
TACHED  TO  ITS  FEET. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Mikawa-ya.  About  1746. 

151.  FUJIKAWA  HEIKURO  IN  THE  ROLE  OF  THE  FA¬ 
MOUS  SWORDSMITH  MASAMUNE,  AND  MAT¬ 
SUSHIMA  KICHISABURO  AS  RAI  KUNETSUGU  HIS 
PUPIL  AND  ASSISTANT. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Mark  not  identified.  About  1748. 


152.  SCENE  FROM  A  DRAMA:  ARASHI  KOROKU  AS 
MAKOMONO  MAI,  AND  ICHIMURA  UZAEMON 
AS  TAIRA  NO  KOREMOCHI. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Kamimura  Kichiemon.  About  1748. 


153.  SCENE  FROM  A  DRAMA:  ARASHI  TOMINOSUKE 
AS  AN  OIRAN  WALKING  UNDER  AN  UMBRELLA 
WITH  HER  LOVER  IMPERSONATED  BY  ICHI¬ 
MURA  KAMEZO. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Iga-ya.  About  1748. 


154.  SCENE  FROM  A  DRAMA:  SANOGAWA  ICHI- 
MATSU  AS  A  MAN  SEATED  IN  A  HOUSE  AND 
WATCHING  SEGAWA  KIKUNOJO  AS  A  WOMAN 
WHO  HAS  CUT  THE  CHOZUBASHI  (WATER 
HOLDER)  IN  TWO  WITH  A  SWORD. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Urukogata-ya.  About  1749. 


155.  SCENE  FROM  A  DRAMA:  SANOGAWA  ICHIMATSU 
AS  THE  UCHIWA  PEDDLER  HANSAKU;  YAMA¬ 
MOTO  IWANOJO  AS  KATSURAGI. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Maruko.  About  1749. 


—52— 


TORII  KIYONOBU  II 


156.  THREE  FAMOUS  ACTORS. 

Unsevered  hosoe  triptych.  Beni-ye.  Signed:  Torii  Kiyonobu, 
hitsu.  Publisher :  Karnimura.  Probably  1749. 

The  actors  are  represented  as  three  women  holding  umbrellas: 
Onoe  Kikugoro  (right)  standing  by  a  cherry  tree;  Sanogawa  Ichi- 
matsu  (centre)  by  a  willow  tree;  Sanogawa  Senzo  (left)  by  a  maple 
tree. 


157.  SCENE  FROM  A  DRAMA:  ICHIKAWA  EBIZO  AS 
MUSASHI  BO  BENKEI  TALKING  TO  TWO  BOYS. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Nakajima-ya.  About  1752. 


158.  SCENE  FROM  A  DRAMA:  ICHIKAWA  EBIZO  AS 
MUSHA-NO-SUKE  SEATED  IN  AN  UPPER  ROOM, 
GAZING  AT  THE  MYSTERIOUSLY  PROJECTED 
IMAGE  OF  OCHIYO  (SEGAWA  KIKUNOJO)  WHO 
IS  IN  THE  ROOM  BELOW. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Nakajima-ya.  About  1752. 


159-  THE  first  sanogawa  ichimatsu  as  a  young 

NOBLEMAN  STANDING  BENEATH  A  PLUM  TREE. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Marusan.  About  1754. 


160.  SCENE  FROM  A  DRAMA:  OTANI  ONIJI  AS  AN 
OTOKODATE  STRIPPED  FOR  FIGHTING,  HOLD¬ 
ING  OUT  A  SAKE  CUP  TO  A  WOMAN— SEGAWA 
KIKUNOJO— WHO  KNEELS  BEFORE  HIM. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Urukogata-ya.  About  1754. 


161.  SCENE  FROM  A  DRAMA:  THE  ACTORS  UTA- 
KAWA  SHIROGORO  AND  ONOE  KIKUGORO. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 
Mark  not  identified.  About  1754. 

The  scene  is  in  front  of  a  Gusoku-ya,  or  armorer’s  shop.  Shirogoro 
is  seated  examining  his  armor,  and  Kikugoro  stands  beside  him  as  a 
woman  holding  a  spear. 


TOKII  KIVONOBC  II 


162.  SCENE  FROM  A  DRAMA:  ICHIMURA  UZAEMON 
AS  OGURI ;  SEGAWA  KIKUNOJO  AS  TERUTE  NO 
HIME. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 

Maruko.  About  1754. 

163.  SCENE  FROM  A  DRAMA:  BANDO  HIKOSABURO 
AS  ARAKI  SAEMON;  NAKAMURA  SUKEGORO  AS 
OSAKA  TERADA  HATANOSUKE. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 

Nakajima-ya. 

164.  THE  FIRST  SANOGAWA  ICHIMATSU  IN  THE 

ROLE  OF  IKE  NO  SHOJI  TOKIKADO. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyonobu,  hitsu.  Publisher: 

Kamimura  Kichiemon.  About  1755. 


TORII  KIYOHIRO 

Kiyohiro  was  a  pupil  of  Kiyomasu,  and  was  perhaps,  his  son.  He 
was  a  talented  artist  who  probably  died  young.  No  details  about 
his  life  are  known.  His  extant  works  can  all  be  placed  within  the 
years  from  about  1750  to  1758. 

165.  A  GEISHA  CARRYING  A  CLOSED  UMBRELLA  AND 
TURNING  TO  LOOK  BEHIND  HER  WHILE  WALK¬ 
ING  IN  A  STREET  IN  THE  YOSHIWARA. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyohiro,  hitsu.  About  1754. 

166.  THREE  FAMOUS  ACTORS. 

Unsevered  hosoe  triptych.  Beni-ye.  Signed  :  Torii  Kiyohiro,  hitsu. 
Publisher :  Maruko.  About  1754. 

The  subject  here  is  a  play  upon  words.  Sanogawa  Ichimatsu,  the 
actor  at  the  right,  is  compared  to  the  blossoming  plum  tree;  Naka¬ 
mura  Tomijuro  is  likened  to  the  graceful  willow;  Nakamura  Kume- 
taro’s  beauty  is  matched  with  that  of  the  cherry  flowers. 

Partly  as  a  matter  of  economy,  prints  of  the  size  known  as  hosoe 
were  usually  printed  as  triptychs  but  were  seldom  kept  in  that  condi¬ 
tion.  Unsevered  triptychs  are  now  extremely  rare  and  highly  prized 
by  collectors. 


—54— 


TORII  KIYOHIRO 


167.  SEGAWA  KIKUNOJO  IN  THE  ROLE  OF  YOSHIJI, 
AND  YAMASHITA  KINSAKU  AS  HER  FELLOW 
SHIOKUMI  (SALT  WATER  CARRIER). 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyohiro,  hitsu.  Publisher: 

Urukogata-ya.  About  1755. 

The  shiokumi  were  persons,  usually  women,  employed  to  dip 
water  from  the  sea  and  to  carry  it  to  the  pans  where  salt  was  made 
from  it  by  evaporation. 

168.  ICHIKAWA  YAOZO  IN  THE  ROLE  OF  SOGA  NO 
GORO. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyohiro,  hitsu.  Publisher: 

Iga-ya.  About  1755. 

169.  SUGOROKU  PLAYERS. 

Oban.  Beni-ye.  Signed:  Torii  Kiyohiro,  hitsu.  Publisher:  Uru¬ 
kogata-ya.  About  1755. 

A  young  woman  with  a  pipe  in  her  hand  is  watching  another 
woman  and  a  young  man  play  the  game  of  sugoroku.  The  game 
has  many  varieties.  That  here  depicted  is  a  kind  of  backgammon.  Its 
vogue  died  out  some  time  ago  and  it  is  not  now  generally  known. 

170.  THE  FIRST  NAKAMURA  TOMIJURO  IN  THE  ROLE 
OF  OMI  NO  OKANE. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyohiro,  hitsu.  Publisher: 

Urukogata-ya.  About  1755. 

1 7 1.  A  DETENTION. 

Oban.  Three-color  print.  Signed:  Torii  Kiyohiro,  hitsu.  Pub¬ 
lisher.  Sakai-ya.  About  1756. 

A  young  woman  standing  on  the  engawa  (veranda)  of  a  house 
by  playfully  grasping  his  half-opened  umbrella  detains  a  man  who  is 
bidding  her  good-bye. 

In  this  print  blue  (now  changed  to  olive)  is  added  to  the  beni  and 
green. 


KATSUKAWA  SHUNSUI 


Shunsui  was  a  painter  of  distinction  and  a  pupil  of  Miyagawa 
Choshun  (1682-1752)  one  of  the  most  famous  of  the  Ukiyo-e  artists 


—55— 


KATSUKAWA  SHUNSUI 


who  confined  himself  entirely  to  painting  and  designed  neither  prints 
nor  book  illustrations.  Shunsui,  who  changed  the  family  name  to 
Katsu-Miyagawa  and  then  to  Katsukawa,  designed  a  very  few  prints. 
He  is  chiefly  known  as  the  master  of  Shunsho. 

172.  MITSU-WA:  EGUCHI:  IZUTSU. 

Unsevered  hosoe  triptych.  Beni-ye.  Signed:  To  (East)  Bu  (Prov¬ 
ince  of  Musashi)  Gashi  (Painter)  Katsu  Shunsui.  Seal:  Shunsui. 
Publisher:  Tsuru-ya  Kiyeimon.  About  1754. 

The  Japanese  titles  of  the  three  pictures  forming  this  triptych 
refer  to  incidents  in  the  classic  romance  “Ise  Monogatari.”  At 
the  right  a  man  holds  a  kite  in  the  form  of  a  kimono,  and  a 
girl  holds  the  string  and  a  reel.  In  the  centre  a  girl  is  carrying 
chrysanthemums  in  a  flower-bucket  and  another  girl  is  coming  forward 
through  a  portierre.  At  the  left  a  girl  stands  and  a  young  man  sits 
before  a  mirror;  and  back  of  them  is  a  vista  of  a  garden  with  the 
water-holder  and  the  well  curb. 

This  print  is  a  great  rarity.  Very  few  prints  by  Shunsui  are  in 
existence,  and  so  far  as  known  to  the  compiler  of  this  catalogue,  no 
other  unsevered  triptych. 


TORII  KIYOMITSU 

Torii  Hanzo  Kiyomitsu  was  the  second  son,  born  in  1735,  of 
Kiyomasu,  and  was  his  successor  as  the  head  of  the  Torii  line.  His 
merit  as  an  artist  has  as  yet  hardly  been  appreciated  at  its  true  worth. 
He  was  a  great  painter  of  kamban,  and  a  facile  designer  of  prints.  To 
him  belongs  the  honor  of  being  the  first  artist  to  use  three  color-blocks. 
He  was  constantly  making  experiments  and  was  the  pioneer  in  the 
forward  movement  that  culminated  in  the  perfecting  of  full  color 
printing.  He  was  however,  overshadowed  by  the  genius  of  Suzuki 
Harunobu  who,  instead  of  Kiyomitsu,  was  the  first  to  make  tri¬ 
umphant  use  of  the  resources  thus  placed  at  his  command.  Kiyomitsu 
tried  to  design  in  the  new  style  inaugurated  by  Harunobu,  but  with¬ 
out  distinguished  success,  and,  although  he  lived  until  1785,  his  prints 
issued  after  the  eventful  year  1 764  were  very  few. 

173.  THE  FOURTH  ICHIKAWA  DANJURO  IN  HIS 
FAMOUS  ROLE  OF  THE  OTOKODATE  SUKEROKU. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomitsu,  hitsu.  Publisher: 

Yamashiro-ya.  About  1756. 


—56— 


TORII  KIYOMITSU 


174-  GEISHA  AND  ATTENDANT. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomitsu,  hitsu.  Publisher. 
Sakai-ya.  About  1757. 


175.  WOMEN  PROCEEDING  TO  MAKE  NEW  YEAR’S 
CALLS. 

Oban.  Beni-ye.  Signed:  Torii  Kiyomitsu,  hitsu.  Seal:  Kiyo¬ 
mitsu.  No  publisher’s  mark.  About  1757. 


176.  SANOGAWA  ICHIMATSU  AS  SOGA  NO  GORO. 

Hosoe.  Beni-ye.  Signed:  Torii  Kiyomitsu,  hitsu.  Publisher: 
Iga-ya.  About  1758. 


177.  THREE  PAIRS  OF  LOVERS. 

Unsevered  hosoe  triptych.  Beni-ye.  Signed:  Torii  Kiyomitsu, 
hitsu.  Publisher :  Sakai-ya.  About  1756. 

Instead  of  beni  and  green,  two  tones  of  beni  have  been  used. 


178.  OTANI  HIROJI  AND  NAKAMURA  SUKEGORO  IN 
A  SCENE  FROM  A  DRAMA  DEPICTED  ON  A  CUR¬ 
TAIN  AT  THE  ICHIMURA  THEATRE. 

Hosoe.  Printed  in  beni,  yellow  and  gray.  Signed:  Torii  Kiyo¬ 
mitsu  ga.  Publisher:  Igeta-ya.  About  1758. 

179.  SCENE  FROM  A  DRAMA:  ICHIKAWA  YAOZO  AS 
TOKOBEI ;  SEGAWA  KIKUNOJO  AS  OHATSU, 
STANDING  TOGETHER  UNDER  AN  UMBRELLA 
ON  THE  BANK  OF  A  STREAM. 

Hosoe.  Beni,  yellow,  and  blue.  Signed:  Torii  Kiyomitsu  ga. 
Publisher :  Eijudo.  About  1758. 


180.  THE  ACTORS  ICHIKAWA  RAIZO  AND  NAKAMURA 
MATSUE. 

Hosoe.  Beni,  yellow,  and  blue.  Signed :  Torii  Kiyomitsu  ga. 
Publisher:  Eijudo.  About  1758. 

181.  SCENE  FROM  A  DRAMA:  ICHIKAWA  RAIZO  AS 
SOGA  NO  GORO  TOKIMUNE;  BANDO  AIZO.  AS 
SHOZO. 

Hosoe.  Beni,  yellow,  and  blue.  Signed:  Torii  Kiyomitsu  ga. 
Publisher:  Eijudo.  About  1758. 


TORI!  KIYOMITSC 


182.  FOUR  GEISHAS  UNDER  A  HUGE  UMBRELLA 
DANCING  TO  THE  MUSIC  OF  A  SAMISEN  PLAYED 
BY  A  FIFTH  GIRL. 

Yokoye.  Beni,  yellow,  and  blue.  Signed :  Torii  Kiyomitsu  ga. 
Publisher:  Eijudo.  About  1758. 

183.  ICHIKAWA  KORAZO  AS  KAWA  TSUSABURO. 

Hosoe.  Beni,  yellow,  and  blue.  Signed :  Torii  Kiyomitsu  ga. 
Publisher:  Eijudo.  About  1758. 

184.  ICHIYAMA  HICHIZO  IN  THE  HOLE  OF  TERUTE 
NO  HIME. 

Hosoe.  Beni,  yellow,  and  blue.  Signed:  Torii  Kiyomitsu  ga. 
Publisher:  Eijudo.  About  1758. 

185.  SEGAWA  KIKUNOJO  AS  A  WOMAN  IN  KOMUSO 
ATTIRE. 

Hashira-ye.  Beni,  yellow,  and  blue.  Signed:  Torii  Kiyomitsu  ga. 
Publisher :  Iwato-ya.  About  1760. 


186.  WOMAN  ENTERING  A  ROOM. 

Hashira-ye.  Beni,  yellow,  and  blue.  Signed:  Torii  Kiyomitsu  ga. 
Publisher:  Eijudo.  About  1760. 


187.  THE  ACTOR  SEGAWA  KIKUNOJO  AS  A  WOMAN 
HOLDING  A  HAIR  PIN. 

Hashira-ye.  Beni,  blue,  and  green.  Signed  :  Torii  Kiyomitsu  ga. 
Publisher :  Matsumura.  About  1760. 


188.  ICHIMURA  HAZAIMON  IN  THE  ROLE  OF  NA¬ 
GOYA  SANZA:  ICHIMURA  KAMEZO  AS  HIS  BOY 
ATTENDANT. 

Hosoe.  Beni,  yellow,  and  blue.  Signed:  Torii  Kiyomitsu  ga. 
Publisher:  Igeta-ya.  About  1761. 


189.  SCENE  FROM  A  DRAMA:  SEGAWA  KIKUNOJO 
AS  SHIRABYOSHI  MIWA;  ICHIMURA  KAMEZO  AS 
WATAHOSHI-URA. 

Hosoe.  Beni,  taisha  (Indian  red),  and  blue.  Signed:  Torii  Kiyo¬ 
mitsu,  hitsu.  Publisher:  Urukogata-ya.  About  1761. 


—58— 


TORII  KIYOMITSU 


190.  THE  NO  DANCE  “MUSUME  DOJOJL” 

Yokoye.  Beni,  blue,  and  green.  Signed:  Torii  Kiyomitsu  ga. 
Publisher:  Maruko.  About  1761. 

The  color  scheme  in  this  print  is  a  novelty.  Constant  experiments 
were  tried  during  this  year  and  the  four  or  five  that  succeeded  it. 

191.  A  PICNIC  PARTY  UNDER  THE  CHERRY  TREES. 

Yokoye.  Beni,  blue,  and  green.  Signed:  Torii  Kiyomitsu  ga. 
Publisher:  Maruko.  About  1761. 

192.  BANDO  HIKOSABURO  IN  THE  ROLE  OF  ONO  NO 
YORIKAGE. 

Hosoe.  Deep  beni,  pale  beni,  and  blue.  Signed:  Torii  Kiyomitsu 
ga.  Publisher :  Ise-ya.  About  1761. 

193.  THE  SECOND  SEGAWA  KIKUNOJO  AS  A  WOMAN 
READING  A  LETTER. 

Hashira-ye.  Beni,  pearl  gray,  and  green.  Signed:  Torii  Kiyo¬ 
mitsu  ga.  Publisher :  Maruko.  About  1761. 

194-  SEGAWA  KIKUNOJO  IN  THE  ROLE  OF  ISHINO 
MAYE. 

Hosoe.  Beni,  blue,  and  green.  Signed :  Torii  Kiyomitsu,  hitsu. 
Publisher :  Iwato-ya.  About  1761. 

195-  HANAKAWA  ICHINOJO  AS  AKANE  GOZEN,  PLAY¬ 
ING  UPON  A  TSUZUMI. 

Hosoe.  Beni,  taisha,  and  blue.  Signed:  Torii  Kiyomitsu  ga. 
Publisher:  Urukogata-ya.  About  1761. 

196.  SCENE  FROM  THE  POPULAR  DRAMA  “YAOYA 
OSHICHI” :  SEGAWA  KIKUNOJO  IN  THE  TITLE 
ROLE;  SAKAHIYAMA  SANGORO  AS  KICHISABURO, 

Hosoe.  Beni,  taisha,  and  pearl  gray.  Signed :  Torii  Kiyomitsu 
ga.  Publisher:  Urukogata-ya.  About  1761. 

“Yaoya  Oshichi”  (Oshichi  the  grocer’s  daughter)  is  a  dramatiza¬ 
tion  of  the  story  of  a  young  girl  who  was  domiciled  at  the  district 
temple  until  her  father’s  house  and  shop,  which  had  been  destroyed  by 
fire,  could  be  rebuilt.  While  there  she  fell  in  love  with  Kichisaburo, 
the  kosho  (page)  of  a  nobleman  who  dwelt  near  by.  When  she  had 
to  return  to  her  home  she  was  disconsolate,  and  in  order  that  she 
might  be  sent  back  to  the  temple  she  set  fire  to  the  house  and  started 


—59— 


TORII  KIYOMITSU 


a  great  conflagration  that  burned  a  large  part  of  Edo.  For  this,  her 
guilt  being  discovered,  she  was  put  to  death. 

197-  NAKAMURA  MATSUE  AS  A  WOMAN  READING 
THE  ADDRESS  UPON  A  LETTER. 

Hosoe.  Beni,  blue,  and  green.  Signed:  Torii  Kiyomitsu  ga.  Pub¬ 
lisher:  Kamimura  Kichiemon.  About  1761. 

198.  THE  SECOND  SEGAWA  KIKUNOJO  AS  A  WOMAN 
HOLDING  AN  UMBRELLA. 

Oban  hosoe.  Beni,  blue,  and  green.  Signed:  Torii  Kiyomitsu 
ga.  Publisher:  Maruko.  About  1761. 

Segawa  Kikunojo  was  the  stage  name  of  the  leading  representative 
of  a  line  of  actors  who  made  a  specialty  of  female  roles.  The 
rise  of  the  theatre  in  Japan  dates  from  the  beginning  of  the  seven¬ 
teenth  century,  when  Sadoshima  Masakichi  erected  a  stage  in  the  dry 
bed  of  the  river  at  Kyoto.  From  this  circumstance  actors  were  called 
Kawaramono  (river-bed  folk  or  vagabonds),  an  epithet  denoting  the 
contempt  in  which  their  profession  was  held.  Making  their  way  to 
Yedo,  Sadoshima  and  his  company  had  to  content  themselves  with  a 
site  in  the  Yoshiwara.  Until  1643  the  players  were  of  both  sexes, 
but  in  that  year  actresses  were  forbidden  by  law  to  act  with  actors, 
and  it  became  necessary  that  female  roles  should  be  taken  by  men.  To 
perfect  themselves  in  these  roles  the  men  who  essayed  them  habitually 
dressed  in  woman’s  clothes  and  followed  women’s  occupations  when 
off  the  stage.  The  result  was  that  the  simulation  became  unconscious 
and  an  extraordinary  degree  of  excellence  was  attained,  the  deception, 
says  Brinkley,  “being  so  perfect  as  to  defy  the  closest  scrutiny.”  The 
second  Kikunojo  was  one  of  the  most  famous  actors  of  his  time.  The 
large  number  of  prints  representing  him  attest  his  popularity.  He 
died  in  1773  at  the  age  of  thirty-two. 

199.  ARASHI  HINAJI  IN  THE  ROLE  OF  MAIKO  URYU. 

Oban  hosoe.  Beni,  yellow,  and  blue.  Signed.  Torii  Kiyomitsu  zu. 
Publisher:  Maruko.  About  1761. 

200.  THE  FOURTH  ICHIKAWA  DANJURO. 

Oban  hosoe.  Beni,  yellow,  gray,  and  green.  Signed:  Torii  Kiyo¬ 
mitsu  zu.  Publisher:  Maruko.  About  1763. 


—60— 


TORII  KIYOMITSU 


201.  WOMAN  COMING  FROM  THE  BATH. 

Hashira-ye.  Beni  and  pearl  gray.  Signed:  Torii  Kiyomitsu,  hitsu. 
Publisher.  Maruko.  About  1762. 

202.  SCENE  FROM  A  DRAMA:  THE  ACTORS  ICHIKAWA 
KOMAZO  AND  NAKAMURA  MATSUE. 

Hosoe.  Signed:  Torii  Kiyomitsu  ga.  Publisher.  Eiiudo.  About 
1765. 

This  is  an  important  print.  It  shows  one  of  Kiyomitsu’s  early 
efforts  in  the  new  manner  devised  by  Harunobu.  How  like,  yet  how 
different  is  Kiyomitsu’s  treatment !  The  embossing  to  imitate  crepe 
and  the  red  plum  blossoms  printed  under  the  blue  upon  the  man’s 
kimono,  are  unlike  anything  used  by  Harunobu.  The  publisher, 
desirous  of  being  known  in  connection  with  these  novel  prints,  appends 
his  name  instead  of  merely  the  usual  publisher’s  mark. 

203.  INK  PROOF  FROM  THE  KEY  BLOCK  OF  THE  PRE¬ 
CEDING. 

This  shows  an  experiment  in  colouring  which  was  rejected  as 
unsatisfactory,  and  not  carried  very  far. 

204.  ICHIKAWA  KOMAZO  AS  A  MAN  SEATED  ON  A 
BENCH  NEAR  A  RIVER;  BANDO  AIZO  AS  A 
WOMAN  STANDING  BEFORE  HIM  WAVING  HER 
FAN  TO  DRIVE  AWAY  THE  FIREFLIES. 

Chuban.  Not  signed.  Probably  1765. 

Another  print  in  the  Harunobu  manner,  which,  however,  Kiyo¬ 
mitsu  seems  never  to  have  completely  assimilated.  It  can  hardly  be 
possible  that  many  of  the  unsigned  prints  usually  attributed  to  Haru¬ 
nobu  were  from  his  hand. 

205.  ICHIKAWA  YAOZO  AS  A  MAN  STANDING  BY  A 
STREAM  IN  WHICH  IRIS  ARE  GROWING. 

Hosoe.  Signed:  Torii  Kiyomitsu.  About  1765. 

206.  NAKAMURA  NAKAZO  IN  THE  ROLE  OF  KAMAYA 
BUHEI. 

Hosoe.  Signed:  Torii  Kiyomitsu  ga.  Publisher:  Mark  not 
identified.  About  1766. 


— 61 — 


TORII  KIYOMITSU 


207.  SEGAWA  KIKUNOJO  IN  THE  ROLE  OF  KIYOHIME. 

Hosoe.  Signed:  Torii  Kiyomitsu  ga.  Publisher:  Mori.  About 
1769. 

In  this  print  Kiyomitsu  attempts  to  work  in  the  style  of  Shunsho, 
but  he  is  too  strongly  individual  to  adapt  himself  entirely  to  the  man¬ 
ner  of  another,  though  such  is  the  fashion  of  the  day  that  he  must  do 
so  if  he  would  retain  any  vestige  of  his  popularity. 

208.  BANDO  HIKOSABURO  AS  A  YOUNG  MAN  CARRY¬ 
ING  AN  UMBRELLA  OVER  HIS  SHOULDER  AND 
AN  ODAWARA  LANTERN  SUSPENDED  FROM  HIS 
SWORD  HILT. 

Hashira-ye.  Signed:  Torii  Kiyomitsu  ga.  About  1769. 

So  far  as  known  this  is  Kiyomitsu’s  finest  print  in  the  Harunobu 
manner.  The  many  hues  into  which  the  purple  of  the  haori  (coat) 
has  changed,  furnish  an  instructive  object  lesson  for  determining  such 
transformations  in  other  prints. 


SUZUKI  HARUNOBU 

The  date  of  the  birth  of  this  eminent  artist,  who  should  be  con¬ 
sidered  the  central  figure  in  Ukiyo-e  has  not  been  ascertained.  It  is 
known  that  he  died  on  the  15th  day  of  the  6th  month  of  Meiwa  7 
(1770)  and  Shiba  Kokan  who  was  his  pupil  and  doubtless  wrote 
that  of  which  he  had  knowledge,  tells  us  that  he  had  then  scarcely 
passed  his  fortieth  year.  There  is  reason  to  believe  that  this  is  correct: 
it  accords  with  the  probabilities  as  indicated  by  his  published  work. 
He  was  a  pupil  of  Nishimura  Shigenaga,  and  at  first  seems  to  have 
devoted  himself  largely  to  drawing  designs  to  be  reproduced  in  black 
outline  only,  for  book  illustration,  though  he  made  a  few  beni-ye  and 
three-color  prints  both  of  actors  and  of  other  subjects,  in  which  he 
followed  closely  the  innovations  made  by  Torii  Kiyomitsu.  That  he 
was  the  originator  of  some  of  the  innovations,  is  not  unlikely.  As 
with  all  artists  of  marked  ability,  his  individual  characteristics  mani¬ 
fested  themselves  early,  but  it  was  not  until  about  1763  that  he  began 
to  attract  especial  attention.  From  that  time  on  until  his  untimely 
death  he  held  the  centre  of  the  stage  against  all  rivals.  His  invention 
of  a  new  style  of  print  to  take  advantage  of  the  possibilities  of  full 
color  printing  when  the  difficulties  that  stood  in  its  way  had  been 
overcome,  has  already  been  mentioned  in  the  introduction  to  this 


—62— 


TOYONOBU 

No.  142.  Oiran  writing  an  Inscription  on  an  ueMwa 


\rm. 


TOYONOBU 

No.  144.  Lovers  meeting  at  a  well 


SUZUKI HARUNOBU 


catalogue,  and  need  not  here  be  again  recited.  In  the  serenity  and 
charm  of  his  compositions  he  is  unsurpassed.  The  word  “composition, ” 
as  here  used,  does  not  signify  adhesion  to  any  stereotyped  formula, 
but  rather  the  contrary,  since  to  compose  is  necessarily  to  create.  What 
it  does  mean  is  such  arrangement  of  the  lines,  masses,  spaces,  and  other 
elements  with  which  the  artist  has  to  deal,  as  will  achieve  a  perfect 
balance  of  all  the  parts  and  produce  a  complete,  harmonic,  and  restful 
whole.  In  his  choice  of  subjects  and  in  their  treatment  Harunobu 
was  more  often  serious  than  was  usual  in  Ukiyo-e.  In  fact,  his  ten¬ 
dency  was  toward  the  refinement  of  the  classic  schools,  and  his  draw¬ 
ings  have  a  grace,  sweetness,  and  tenderness  that  are  all  their  own. 
His  line,  too,  though  without  any  of  the  bravura  quality  so  highly 
esteemed  by  his  countrymen,  is  nevertheless  extremely  pure,  firm  and 
of  great  charm.  And  who  can  resist  the  fascination  of  the  women 
that  he  drew  with  such  exquisite  taste  and  skill? 

Harunobu’s  studio  was  situated  at  the  corner  of  Yonezawa  cho, 
Ryogoku ;  and  there  is  some  reason  to  suppose  that  during  the  last 
five  years  of  his  life  he  was  his  own  publisher.  During  the  year  1765 
many  of  his  prints  were  issued  unsigned.  Quite  a  number  of  the 
calendars  for  1765  which  were  presumably  first  issued  toward  the 
end  of  1764,  had  the  signatures  removed  when  second  editions  were 
printed  without  the  calendar  feature.  Who  could  mistake  a  print  by 
him  for  the  work  of  another  hand?  The  futility  of  this  ambitious 
boast  soon,  however,  became  apparent.  As  his  style  became  assimi¬ 
lated  by  other  artists,  many  unsigned  prints  appeared  that  were  very 
close  imitations  of  his  manner.  Thereafter  Harunobu’s  prints  usually 
had  his  signature  appended ;  but  this  did  not  prevent  the  publication 
of  prints  bearing  forged  signatures  of  the  favorite  artist.  To  what 
extent  these  were  put  forth  during  his  lifetime  it  is  not  easy  to  say. 
The  number  of  prints  generally  attributed  to  him  is  so  large  that  it 
is  quite  safe  to  say  that  he  could  not  have  designed  them  all,  though 
the  method  of  production  made  it  possible  for  an  artist  to  accomplish 
very  much  more  in  a  given  time  than  we  can  quite  realize.  Be  that 
as  it  may,  we  know  from  the  statement  of  his  pupil  known  as  Haru- 
shige  and  later  as  Shiba  Kokan,  in  a  “confession”  made  toward  the 
end  of  his  life,  that  shortly  after  Harunobu’s  death  he  put  forth  a 
number  of  prints  to  which  he  forged  the  master’s  signature  and  which 
were  accepted  by  the  public  as  genuine.  That  these  were  the  only 
forgeries  issued  is  most  unlikely.  Besides  these  imitations  many 
re-engravings  (now  commonly  called  reprints)  have  been  made  in 
recent  years.  Thus  it  will  be  perceived  that  the  path  of  the  collector 
of  Harunobu’s  prints  is  beset  with  many  stumbling  blocks. 


—63— 


SUZUKI HABUNOBU 


209.  ICHIMURA  KOMAZO  IN  THE  ROLE  OF  THE 
WATABOSHI  URI  (COTTON-HAT  PEDDLER) 
TACHIBANA  GENSO. 

Hosoe.  Beni-ye.  Signed:  Suzuki  Harunobu,  hitsu.  Publisher: 
Suzuki.  About  1758. 


210.  SEGAWA  KIKUNOJO  IN  THE  ROLE  OF  YAMABUKI, 
SISTER  OF  HATA  ROKUROZAEMON. 

Hosoe.  Printed  in  beni,  yellow,  and  blue.  Signed :  Suzuki  Haru¬ 
nobu,  hitsu.  Publisher :  Enami-ya.  About  1760. 

21 1.  SEGAWA  KIKUNOJO  IN  THE  ROLE  OF  UMEGAI. 

Hosoe.  Printed  in  beni,  yellow,  and  blue.  Signed :  Suzuki  Haru¬ 
nobu  ga.  Publisher:  Sakai-ya.  About  1760. 

212.  AN  OIRAN. 

Hashira-ye.  Printed  in  beni,  yellow,  and  blue;  purple  and  green  by 
superposition.  Signed :  Suzuki  Harunobu  ga.  Publisher:  Nishimi- 
ya.  About  1760. 


213.  BANDO  HIKOSABURO  IN  A  SHOSA  ROLE  AS  A 
WOMAN  ITINERANT  FLOWER  VENDOR. 

Oban.  Printed  in  beni,  yellow,  and  blue.  Signed:  Suzuki  Haru¬ 
nobu,  hitsu.  Publisher:  Sakai-ya  Kurobei.  About  1762. 

This  is  one  of  the  largest  and  most  important  of  Harunobu ’s  early 
prints.  In  recent  years  a  clever  imitation  of  it  has  been  issued  which 
is  well  calculated  to  deceive  the  unwary. 

214.  SEGAWA  KIKUNOJO  AS  A  WOMAN  ATTIRED  AS 
A  KOMUSO. 

Hashira-ye.  Printed  in  beni,  yellow,  and  blue;  purple  and  green 
by  superposition.  Signed:  Suzuki  Harunobu,  hitsu.  Publisher: 
Tomioka.  About  1760. 

Here  the  style  closely  resembles  that  of  Torii  Kiyomitsu.  These 
artists  were  rivals  for  popular  favor  at  this  time,  but  Harunobu  soon 
forged  ahead. 

215.  THE  BARRIER  AT  HAKONE:  TRAVELLERS  HAV¬ 
ING  THEIR  PASSPORTS  EXAMINED  AT  THE 
GATE. 

Hosoe.  Printed  in  yellow-green,  pale  tan,  and  pale  blue.  Not 
signed.  About  1763. 


SUZUKI HABUNOBU 


216.  THE  UCHIWA  VENDOR. 

Chuban.  Not  signed.  Probably  1764. 

This  is  a  calendar  for  1765,  one  of  the  new  Haru-no  Daisho  no 
Surimono.  The  large  and  small  months  of  the  year  are  designated 
by  the  decorations  that  appear  on  the  uchiwa  (round  fans)  the  young 
woman  carries.  These  indicate  festivals  appropriate  to  the  several 
months,  except  the  eighth  and  tenth  for  which  the  mon  of  popular 
actors  are  made  to  serve. 

217.  THE  ARCHERY  GALLERY. 

Yokoye  chuban  diptych.  Not  signed.  Probably  1764. 

Calendar  for  1765*  The  year  is  inscribed  upon  the  arrow  holder; 
the  large  month  numerals  upon  the  obi  (sash)  of  one  of  the  yatori 
onna,  but,  lest  they  should  appear  too  obvious  to  please  the  artist’s 
literary  patrons,  the  ideographs  are  curiously  decomposed  and  their 
members  or  strokes  twisted  into  forms  not  readily  recognizable. 

The  phrase  “yatori  onna”  signifies  arrow-collecting  woman,  but 
it  was  also  customary  for  the  girls  to  do  the  shooting  for  some  of 
the  patrons  of  the  galleries. 

2x8.  BOY  VENDOR  OF  TOKOROTEN,  A  KIND  OF  JELLY 
MADE  FROM  SEA  WEED. 

Chuban.  Printed  in  six  colors.  Signed:  Suzuki  Harunobu  ga. 
Takahashi  Rosen  hori  (engraver).  Toko  ko  (printer).  Probably 
1764. 

219.  TWO  GIRLS  IN  A  BOAT  GATHERING  LOTUS 
FLOWERS. 

Yokoye  chuban.  Signed:  Suzuki  Harunobu  ga,  and  by  the  printer, 
Kyosen  ko.  1764. 

Calendar  for  1765.  The  numerals  for  the  large  months  appear 
on  the  obi  of  the  kneeling  figure. 

220.  TWO  GIRLS  IN  A  BOAT,  GATHERING  LOTUS 
FLOWERS. 

Second  edition  of  the  preceding  number:  coloring  changed;  pat¬ 
tern  on  the  obi  printed  from  different  blocks  without  the  calendar; 
signatures  of  the  artist  and  the  printer  omitted.  This  print  is  included 
in  the  exhibition  to  show  the  difference  between  the  editions.  The 
earlier  print  is  much  faded  but  was  never  like  the  other  in  color. 


—65 


SUZUKI  HARUNOBU 


221.  THE  LADY  IZUTSU  STANDING  IN  THE  DOOR¬ 
WAY  OF  HER  HOUSE  AND  RECITING  A  POEM 
ABOUT  HER  ABSENT  HUSBAND. 

Chuban.  Not  signed.  1764  or  1765. 

Another  beautiful  specimen  of  the  calendars  for  the  eventful 
year  1765.  In  refinement  and  grace  of  drawing  Harunobu  easily 
surpasses  all  his  rivals.  The  year  “meiwa  ni”  and  the  zodiac  sign 
(cock)  are  plainly  inscribed  upon  the  obi,  while  upon  the  kimono 
appear  the  numerals  for  the  small  months. 

This  print  is  the  right-hand  sheet  of  a  diptych ;  the  other  sheet 
shows  the  lady’s  husband  hiding  behind  the  fence  and  listening  to  his 
wife’s  tribute  to  him. 

222.  VIEW  THROUGH  A  ROUND  WINDOW,  OF  A 
YOUNG  WOMAN  FULLING  CLOTH  BY  BEATING. 

Chuban.  Printed  in  four  colors,  with  gauffrage.  Not  signed.  Prob¬ 
ably  1764  or  1765. 

223.  A  MUSUME  MOSO. 

Chuban.  Not  signed.  1764  or  1765. 

This  is  an  impression  of  the  second  edition  of  a  print  which  in  its 
first  state  is  a  calendar  for  1765,  the  numerals  of  the  large  months 
appearing  as  white  leaves  of  the  bamboo.  Some  of  them  still  remain 
in  this  print. 

Moso  is  the  Japanese  pronunciation  of  Meng  Tsung,  a  Chinese 
of  the  third  century,  renowned  as  one  of  the  twenty-four  paragons 
of  filial  piety.  He  would  never  taste  anything  just  as  it  came  into 
season  before  offering  some  of  it  to  his  aged  mother.  Having  fallen 
ill  during  the  winter  she  expressed  a  desire  for  a  soup  made  from 
young  bamboo  shoots.  As  it  was  too  early  in  the  year  Moso  betook 
himself  weeping  to  a  neighboring  bamboo  grove,  when  lo!  his  filial 
affection  moving  heaven  and  earth  the  frozen  soil  suddenly  burst  at 
his  feet  and  an  abundance  of  succulent  shoots  appeared.  Harunobu’s 
charming  version  of  this  legend  shows  a  young  woman  about  to  dig 
a  large  bamboo  shoot  miraculously  cropping  up  through  the  snow. 

224.  GIRL  SEATED  ON  A  BENCH  BY  A  STREAM. 

Chuban.  Not  signed.  1764  or  1765. 

This  print  and  No.  225  are  two  of  a  set  of  three.  The  third  print 
is  a  calendar  for  1765. 


—66— 


SUZUKI HARUNOBU 


225.  GIRL  TYING  HER  OBI. 

Chuban.  Not  signed.  1764  or  1765. 

226.  AMAGOI  KOMACHI  (PRAYING  FOR  RAIN  KOMA- 
CHI). 

Hosoe.  Series :  Furyu  Yatsushi  Nana  Komachi.  Not  signed. 
Probably  1765. 

Two  girls  on  the  bank  of  a  stream  in  a  shower,  sailing  a  toy  boat. 
The  subjects  of  the  prints  in  this  series  are  modern  analogues  of  well- 
known  incidents  in  the  life  of  the  celebrated  poetess  Ono  no  Komachi. 

227.  KAYO  I  (VISITING). 

Hosoe.  Series:  Furyu  Yatsushi  Nana  Komachi.  Not  signed. 
Probably  1765. 

228.  THE  SHISHI  SCREEN. 

Chuban.  Not  signed.  Probably  1765. 

Second  state.  In  the  first  state  this  print  bears  the  signature  of 
the  printer  Kyosen.  In  the  third  state  the  signature  of  Harunobu 
appears  in  white  reserve  on  the  tatami  (floor  mat)  at  the  right. 

The  subject  is  a  kameyui  (professional  hair-dresser)  arranging 
a  geisha’s  coiffure.  The  title  comes  from  the  shishi  (Chinese  lion) 
painted  on  the  screen. 

Impressions  of  this  print  (first  state)  and  of  the  next  two  num¬ 
bers  were  included  in  a  group  of  eight  printed  by  Kyosen  and  issued 
by  him  in  a  wrapper  (collection  of  Alexander  G.  Mosle,  Leipzig) 
under  the  title  “Zashiki  Hakkei”  (Eight  Parlor  Views).  Whether 
this  was  a  commercial  venture,  or  as  seems  more  probable,  the  prints 
were  so  enclosed  for  presentation  to  his  friends,  is  an  interesting  sub¬ 
ject  for  speculation.  The  rarity  of  impressions  bearing  the  printer’s 
signature  would  seem  to  indicate  that  in  general  only  a  few  that  he 
desired  for  personal  distribution  were  so  inscribed. 


229.  MASSAGE  AFTER  THE  BATH. 

Chuban.  Not  signed  Probably  1765. 

A  young  woman  wrapped  in  a  bath  robe  is  seated  on  a  veranda 
and  her  maid  is  massaging  her  back. 

Second  edition.  In  the  first  edition  the  bath  robe  is  printed  in 

pale  yellow. 

* — C7 — 


SUZUKI  HARUNOBU 


230.  WOMAN  READING  A  LETTER  BY  THE  LIGHT  OF 
AN  ANDON  (PORTABLE  LAMP)  THAT  ANOTHER 
WOMAN  HOLDS. 

Chuban.  Signed :  Harunobu  ga.  Probably  1765. 

Different  impressions  of  this  print  vary  greatly  in  color. 

231.  A  WHITE  ELEPHANT  CAPARISONED  FOR  A  FES¬ 
TIVAL  PROCESSION. 

Chuban.  Not  signed.  Probably  1765. 

232.  TWO  YOUNG  WOMEN  ON  THEIR  WAY  TO  A 
PUBLIC  BATH  HOUSE  IN  A  STORM  OF  MINGLED 
SNOW  AND  RAIN. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  Probably  1765. 

233.  USHI  NO  TOKI  MAIRI  (THE  HOUR  OF  THE  OX). 

Chuban.  Signed :  Suzuki  Harunobu  ga,  and  by  Sekine  Kaei  choko 
(engraver).  Probably  1765. 

A  young  woman  carrying  a  hammer  and  two  nails  stands  before 
a  cryptomeria  tree  growing  near  a  torii,  and  is  about  to  perform  an 
incantation  by  driving  the  nails  into  the  tree  and  uttering  a  curse  upon 
a  faithless  lover  or  hated  rival,  that  the  oni,  or  demons  of  the  air, 
may  be  let  loose  against  the  object  of  her  wrath. 

234-  THE  COMING  BREEZE. 

Chuban.  Not  signed.  Probably  1765. 

A  young  woman  sits  in  a  pensive  attitude  on  the  engawa  (veranda) 
of  Kiyomizu  temple,  Kyoto.  Upon  the  print  some  previous  owner 
has  inscribed  the  famous  ode  by  Toshiyori,  “The  Coming  Breeze,” 
which  is  “a  household  word”  in  Japan. 

235.  COURT  LADY  BURNING  MAPLE  LEAVES. 

Chuban.  Not  signed.  Probably  1765. 

A  lady  attired  as  an  attendant  in  the  Imperial  household  sits  in 
the  corner  of  a  garden  burning  maple  leaves  in  a  basket  suspended 
from  a  small  crane,  and  another  court  lady  standing  on  the  other  side 
of  the  fence  hands  her  a  poem  slip. 

236.  OFFERING  DARUMA  A  SMOKE. 

Chuban.  Signed :  Suzuki  Harunobu  ga,  and  Takahashi  Rosen 
choko  (engraver).  Probably  1765. 


—68— 


SUZUKI HARUNOBU 


The  charm  of  the  young  lady  having  brought  to  life  the  painted 
figure  of  the  sage  in  the  kakimono  hanging  on  the  wall,  she  offers 
him  her  pipe  and  he  stretches  out  his  arm  to  take  it. 

237-  GIRLS  PLAYING  CAT’S-CRADLE. 

Chuban.  Not  signed.  Probably  1765. 

238.  GIRLS  PLAYING  SUGOROKU. 

Chuban.  Signed :  Harunobu.  Probably  1765. 

239.  THE  FAMOUS  POETESS  ONO  NO  KOMACHI. 

Chuban.  Signed :  Suzuki  Harunobu  ga. 

The  poetess  is  attired  in  the  costume  of  a  court  lady  of  the  ninth 
century. 

240.  PENETRATING  THE  DISGUISE. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1765. 

A  girl  holds  a  mirror  so  that  the  face  of  a  woman  masquerading 
as  a  komuso  is  reflected  and  her  identity  discovered. 

241.  YOUNG  WOMAN  AND  HER  LOVER  READING  A 
LETTER. 

Chuban.  Signed :  Harunobu  ga. 

Seated  on  a  kotatsu  (box  containing  a  charcoal  fire,  and  covered 
with  a  wadded  quilt  (futon)  to  retain  the  heat)  a  young  woman  is 
reading  a  letter  which  her  lover  lying  under  the  futon  is  also  enjoying. 
Through  the  window  snow-laden  bamboo  branches  appear.  The  sub¬ 
ject  is  perhaps  an  allusion  to  the  well-known  incident  from  the  story 
of  the  forty-seven  loyal  ronin  when  Yuranosuke  read  a  letter  while 
standing  on  the  veranda  of  a  house  and  the  spy  Kudayu  hidden 
beneath  was  also  able  to  master  its  contents. 

242.  YOUNG  WOMAN  WALKING  IN  THE  SNOW. 

Chuban.  Signed :  Harunobu  ga,  and  by  the  printer  Seiha  ko.  1765 
or  1766. 

Here  we  have  a  calendar  for  the  third  year  of  Meiwa,  1766.  The 
year  and  numbers  for  the  large  months  appear  upon  the  obi.  It  is 
a  proof  impression  in  remarkable  condition. 

243.  A  MODERN  ANALOGUE  OF  KOMACHI  WASHING 
THE  COPY  BOOK. 

Chuban.  Signed  only  by  the  printer :  Goro  ko.  1765  or  1766. 


—69— 


SUZUKI  HARUNOBU 


This  is  another  calendar  for  1766.  A  boy  having  got  some  ink 
splashes  upon  a  letter  belonging  to  his  sister,  he  is  about  to  apply  a 
dipper  of  water,  with  probably  disastrous  results  and  his  sister  rushes 
forward  to  stop  him.  The  ink  splashes  form  the  word  sho  (small) 
and  the  numbers  of  the  small  months  are  upon  the  letter,  while  the 
name  of  the  year  is  upon  the  boy’s  obi  (sash)  and  the  numbers  of 
the  large  months  are  upon  the  girl’s  kimono. 

The  subject  is  a  travesty  upon  the  well-known  incident  in  the  life 
of  the  famous  ninth  century  poetess  Ono  no  Komachi.  On  the  oc¬ 
casion  of  a  poetical  competition  at  the  Imperial  palace  the  poet  Otomo 
no  Kuronushi  accused  her  of  having  taken  the  poem  from  an  ancient 
collection  of  odes  known  as  the  Manyoshu.  In  support  of  his  allega¬ 
tion  he  brought  forth  an  ancient  manuscript  copy  of  the  book  with  her 
poem  in  it.  Komachi  called  for  water,  and,  washing  the  book  the 
old  writing  was  not  affected  but  the  fresh  ink  yielded  and  her  rival 
was  discomfitted. 

244.  FAN  MOUNT  PEDDLER  DISPLAYING  HIS  WARES 
TO  A  YOUNG  WOMAN. 

Chuban.  Not  signed.  About  1766. 

245.  GIRLS  STRUGGLING  FOR  THE  POSSESSION  OF 
A  FAN. 

Chuban.  Not  signed.  About  1766. 

246.  THE  ELOPEMENT. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  Probably  1766. 

A  young  samurai  running  along  the  bank  of  a  stream,  under  a 
willow  tree,  carrying  a  geisha  on  his  back. 

247.  MUSUME  CARRYING  AN  UMBRELLA  ON  A 
WINDY  DAY. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  Probably  1766. 

248.  IDE  NO  TAMAGAWA. 

Chuban.  Series:  Mu  Tamagawa.  Not  signed.  Probably  1766. 

The  Tama  rivers  of  the  six  different  provinces  furnish  a  theme 
much  used  by  the  Ukiyo-e  artists.  Here  three  girls  are  shown  fording 
the  Ide  no  Tamagawa;  the  yamabuki  is  in  bloom  on  the  bank  behind 
them. 


—70— 


SUZUKI HARUNOBU 


249.  CHOFU  NO  TAMAGAWA. 

Chuban.  Series :  Mu  Tamagawa.  Not  signed.  Probably  1766. 
Young  woman  rinsing  strips  of  white  cloth  in  the  river.  Another 
print  of  the  same  series.  Harunobu  designed  several  Tamagawa 
series,  of  which  this  is  the  most  famous. 

250.  WAKASHU  (YOUNG  MAN  IN  WOMAN’S 
CLOTHES)  STANDING  BY  A  GARDEN  FENCE  AND 
PLAYING  A  FLUTE. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1766. 

251.  WOMAN  WASHING  HER  HANDS  AS  A  PURIFICA¬ 
TION  CEREMONY  AT  A  SHINTO  TEMPLE,  AND 
A  BOY  LOOKING  ON. 

Chuban.  Not  signed.  About  1766. 

252.  YOUNG  MAN  PASSING  THROUGH  A  GATE. 

Chuban.  Signed :  Harunobu  ga.  About  1766. 

253.  THE  LOVERS’  DUET. 

Chuban.  Signed :  Suzuki  Harunobu  ga. 

Second  edition.  In  the  first  edition,  issued  about  1766,  the  pat¬ 
terns  upon  the  clothes  of  the  young  people  are  quite  different. 

254.  GIRLS  FISHING  FOR  MEDAKA  (KILLIFISH). 

Chuban.  Not  signed.  About  1766. 

255.  WOMAN  ON  A  VERANDA  WITH  TWO  GIRL  AT¬ 
TENDANTS  AND  A  PET  DOG. 

Chuban.  Not  signed.  About  1766. 

In  “The  Masters  of  Ukioye,”  the  catalogue  of  the  Ketcham 
Exhibition  of  Ukiyo-e  paintings  and  prints  held  in  New  York  in 
January,  1896,  Mr.  Fenollosa  says  of  this  print,  which  was  there 
exhibited:  “In  this  wonderful  print  Harunobu  about  reaches  the  ex¬ 
treme  possibilities  of  his  experimental  stage.  There  are  fourteen  or  fif¬ 
teen  distinct  tones  lavished  in  a  perfect  shower  of  wealth  on  every  part 
of  the  design.  The  background  itself  is  a  mosaic  of  light.  But  the  most 
extraordinary  thing  is  that  they  hold  their  place  without  undue  con¬ 
fusion.  This  implies  supreme  mastery  over  two  of  the  intrinsic 
dimensions  of  color,  which  are  not  always  considered ;  namely,  the 


—71— 


SUZUKI  HARUNOBU 


darkness  and  lightness  of  colors  {notan)  and  the  brilliancy  and  gray¬ 
ness  of  colours  ( seiutsu ).  He  has  now  discovered  how  to  use  the  very 
opaqueness  of  tones  over  paper  so  as  to  give  them  transparency  of 
effect.  What  could  be  more  liquid  or  enamel-like  than  the  cool  blue 
of  the  hanging  curtain?  How  finely  the  yellow  of  the  pillar  cuts  it! 
Observe  the  texture,  as  painting;  the  pigment,  like  spring  frost,  touch¬ 
ing  the  hilltops  of  the  surface,  but  sparing  the  valleys.  Thus  is 
color  physically  diluted,  as  it  cannot  be  in  water-color  wash,  by 
letting  the  white  light,  held  in  solution  by  the  paper’s  fibres,  diffuse 
itself  outward  through  the  thin  veil  of  the  pigment.  Need  we  wonder 
that  the  name  nishiki-ye  or  embroidery  painting  was  now  bestowed 
upon  this  new  art?” 


256.  THE  SHADOW  OF  THE  PINE  TREE  ON  THE 
SHOJI. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1766. 

A  young  girl,  daughter  of  the  house,  has  turned  from  her  morn¬ 
ing  dusting  to  greet  her  brother  who  holds  a  tame  mouse  in  his  hand. 
Above  is  an  ode  by  Kikaku  which  Mrs.  Fenollosa  has  translated: 

I’ve  dusted  as  our  mother  bade: — 

And  yet  have  left  one  stain. 

How  could  I  brush  the  pine-tree  shade 
From  off  the  window-pane? 


257-  THE  SLEEPING  CHABOZU. 

Chuban.  Signed :  Harunobu  ga. 

A  woman  looking  down  at  a  chabozu  (boy  attendant — literally, 
tea  priest)  who  has  fallen  asleep,  his  arms  folded  across  a  cha-usu  or 
mill  for  grinding  powdered  tea  for  the  cha-no-yu  ceremony.  On  the 
floor  is  a  chaboki  or  feather  for  brushing  away  the  tea  dust. 

258.  RETURNING  THE  FOOTBALL. 

Chuban.  Signed:  Harunobu  ga.  About  1766. 

A  girl  standing  upon  a  ladder  placed  against  a  garden  wall,  re¬ 
turns  a  football  to  a  young  man  who  holds  out  his  hand  to  receive  it. 

259.  GIRL  AND  YOUNG  MAN  CATCHING  FIREFLIES 
ON  THE  BANK  OF  A  RIVER. 

Chuban.  Signed :  Harunobu  ga.  About  1766. 


—72- 


SUZUKI  JHARUNOBU 


260.  NARIHIRA  AND  HIS  LADY. 

Chuban.  Signed:  Harunobu  ga.  About  1766. 

261.  WOMAN  WASHING  STRIPS  OF  CLOTH  IN  A 
RIVER. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1766. 

Although  no  title  appears  upon  the  print  it  is  probably  the  Chofu 
no  Tamagawa  from  a  Six  Tama  Rivers  series. 

262.  NATURE’S  MIRROR. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1766. 

Daruma  being  given  a  ride  in  a  boat  poled  by  a  young  woman, 
uses  the  water  as  a  mirror  while  plucking  stray  hairs  from  his  cheek 
with  a  pair  of  pincers. 

263.  THE  SICK  ROOSTER. 

Chuban.  Signed:  Suzuki  Harunobu  ga.  About  1766. 

Warm  sake  is  being  offered  to  the  ailing  bird  by  one  maiden 
while  the  other  holds  it. 

264.  THE  NEXT  VOLUME. 

Chuban.  Signed :  Harunobu  ga.  About  1766. 

A  girl  reading  a  book  lying  upon  the  floor  turns  to  her  companion 
who  is  taking  down  the  next  volume  from  a  case  at  the  side.  The 
fusuma,  or  sliding  partition,  at  the  back  is  decorated  with  a  winter 
landscape  and  a  Chinese  sage  riding  upon  an  ass. 

265.  BURNING  MAPLE  LEAVES  TO  HEAT  SAKE 

Chuban.  Signed :  Suzuki  Harunobu  ga. 

An  oiran  and  her  kamuro  warming  sake  over  a  fire  of  maple  leaves 
for  a  wakashu  (youth  in  woman’s  clothes)  who  sits  beside  the  hibachi. 

266.  A  WINTER  EVENING  VIGIL. 

Chuban  yokoye.  Signed:  Harunobu  ga.  About  1766. 

A  geisha  seated  on  a  veranda  at  night,  her  samisen  by  her  side, 
and  behind  her  a  kettle  upon  a  hibachi. 

267.  THE  SLEEPY  KAMURO. 

Chuban.  Signed :  Harunobu  ga.  About  1767. 


—73— 


SUZUKI  HARUNOBU 


An  oiran  seated  in  her  bedroom  writes  a  letter  by  the  light  of 
an  andon,  while  her  little  kamuro  sitting  behind  her  has  fallen  fast 
asleep. 

268.  YOUNG  WOMAN  UMPIRING  A  WRESTLING 
MATCH  BETWEEN  TWO  BOYS. 

Chuban.  Signed :  Harunobu  ga.  About  1767. 

269.  THE  COCK  FIGHT. 

Chuban.  Signed :  Harunobu  ga.  About  1768. 

270.  A  SNOWY  DAY  BY  THE  SEA. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1768. 

A  girl  stoops  to  remove  the  snow  from  the  geta  of  another  girl 
who  is  carrying  a  yellow  umbrella.  Back  of  them  a  glimpse  of  the 
sea  and  the  stern  of  a  boat. 

271.  TWO  MAIDS  GATHERING  SPRING  FLOWERS. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1768. 

272.  YOUNG  WOMAN  CROSSING  A  BRIDGE  IN  A  GALE 
OF  WIND. 

Chuban.  Signed:  Harunobu  ga.  About  1768. 

273.  YOUNG  WOMAN  AND  HER  LOVER  STRUGGLING 
FOR  THE  POSSESSION  OF  A  LETTER. 

Chuban.  Signed :  Harunobu  ga.  About  1768. 

Notable  for  the  beauty  of  the  gauffrage  and  the  harmonious  blend¬ 
ing  of  the  gray  and  olive  hues. 

274-  AN  oiran  lifting  a  portierre  to  greet 
HER  KAMURO  WHO  IS  BRINGING  HER  A  LET¬ 
TER. 

Chuban.  Signed :  Harunobu  ga.  About  1768. 

275.  WILL  HE  COME? 

Chuban.  Signed :  Harunobu  ga.  About  1768. 

A  young  woman  standing  in  a  room  and  looking  out  at  the  land¬ 
scape.  Illustration  of  the  ode  printed  above: 


—74— 


SUZUKI HARUNOBU 


Let  me  turn  my  weary  thoughts  toward 
Mount  Miwa. 

It  may  be  my  heart’s  choice  is  coming 
this  way. 

276.  TAKING  LEAVE  OF  HER. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1768. 

Here  Harunobu  tries  the  experiment  of  omitting  the  black  outline 
for  the  woman’s  kimono,  using  only  embossed  lines  instead.  The 
sharp  contrast  between  the  white  and  the  intensely  black  garments  is 
also  an  experiment.  He  wras  not  altogether  successful  in  this  attempt 
but  later  he  used  he  difficult  contrast  with  exceedingly  happy  results. 

277.  THE  COTTON  GIN. 

Chuban.  Signed :  Harunobu  ga.  About  1768. 

A  woman  extracting  the  seeds  from  cotton  with  a  primitive  gin ; 
and  another  woman  bearing  away  a  basket  of  the  cotton. 

278.  GIVING  A  LIGHT. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1769. 

A  young  woman  meets  a  young  man  and  stops  to  get  a  light  from 
his  pipe.  A  boy  carrying  a  pair  of  geta  (clogs)  stands  by.  In  the 
background  a  snow-covered  landscape  with  plum  trees  in  bloom. 

279.  THE  HOBBY  HORSE. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1769. 

280.  THE  DAIMYO  PROCESSION  GAME. 

Chuban.  Signed :  Harunobu  ga.  About  1769. 

281.  THE  OIRAN  CHOZAN  OF  CHOJI-YA  INSTRUCT¬ 
ING  HER  KAMURO  WHERE  TO  DELIVER  A  LET¬ 
TER. 

Chuban.  Signed:  Harunobu  ga.  About  1769. 

282.  OFUJI  WAITING  UPON  A  YOUNG  SAMURAI  AT 
HER  FATHER’S  SHOP,  MOTO  YANAGI-YA. 

Chuban.  Signed :  Suzuki  Harunobu  ga.  About  1769. 

This  is  one  of  a  series  of  prints  that  greatly  increased  Harunobu’s 
reputation  among  the  populace  of  Edo.  In  the  sixth  year  of  Meiwa 


SUZUKI  HARUNOBU 


(1769)  four  young  girls  renowned  throughout  the  city  for  their 
beauty,  were  selected  to  perform  a  ceremonial  dance  at  the  installa¬ 
tion  of  a  statue  of  Ishizu  Shoshi  at  the  temple  of  Yushima  Tenjin. 
These  girls  were  Onami  and  Ohatsu,  two  of  the  temple  attendants, 
Osen,  a  servant  in  the  Kagiya  teahouse  at  Kasamori  temple,  Yanaka, 
and  Ofuji,  daughter  of  Neheiji,  who  had  a  tooth  brush  and  cosmetic 
shop  at  Asakusa. 

283.  TWO  WOMEN  ON  A  BEACH  BY  THE  SEA. 

Chuban.  Signed :  Harunobu  ga.  About  1769. 

One  woman  is  seated  in  a  kago  resting  on  the  beach  and  the  other 
is  walking  toward  her. 

A  deceptive  counterfeit  of  this  print  has  been  made  in  recent  years. 

284.  FISHERMAN  AND  AN  AWABI  DIVER  ON  THE 
ROCKS  BY  THE  SEA  AT  ISE. 

Chuban.  Same  series  as  the  foregoing.  Signed :  Harunobu  ga. 
About  1769. 

285.  THE  SNOW  DOG. 

Chuban.  Signed :  Harunobu  ga.  About  1769. 

286.  AN  OIRAN  AND  HER  KAMURO  IN  A  TEA  HOUSE 
BY  THE  SUMIDA  RIVER. 

Chuban.  Signed :  Harunobu  ga.  About  1769. 

The  oiran  is  seated  on  the  window  sill  and  the  Kamuro  is  looking 
through  a  spy-glass  at  the  people  in  a  boat  on  the  river. 

287.  GOING  TO  THE  THEATRE. 

Chuban.  Signed :  Harunobu  ga.  Probably  1769. 

A  tall  woman  and  a  girl  are  proceeding  through  the  fog  toward 
the  theatre  of  which  a  glimpse  is  given  in  the  upper  corner.  In  old 
Japan  the  performances  at  the  theatres  began  very  early  in  the  morn¬ 
ing  and  lasted  through  the  day.  The  longest  play  was  that  given 
in  the  forenoon. 

288.  KINDNESS,  EVEN  TO  A  BIRD. 

Chuban.  Signed.  Suzuki  Harunobu  ga.  Probably  1769. 

A  Wakashu  (youth  in  women’s  clothes)  and  two  girls  at  the 
Kagiya  tea-house  at  Kasamori  temple,  liberating  caged  birds. 


— 7C— 


SUZUKI HARUNOBU 


289.  GEISHA,  WITH  A  CLOSED  UMBRELLA,  WALKING 
IN  THE  SNOW. 

Hashira-ye.  Not  signed.  1768  or  1769. 

290.  IDE  NO  TAMAGAWA. 

Hashira-ye.  Series:  Fuzoku  mu  Tamagawa.  Signed:  Harunobu 
ga.  Probably  1769. 

Two  girls  fording  the  Ide  Tama  river. 

291.  CHIDORI  NO  TAMAGAWA. 

Hashira-ye.  Series :  Fuzoku  mu  Tamagawa.  Signed :  Suzuki 
Harunobu,  hitsu.  Probably  1769. 

A  tall  woman  wearing  a  black  zukin  about  her  head. 

292.  TALL  WOMAN  IN  WINTER  COSTUME. 

Hashira-ye.  Signed :  Harunobu  ga.  Probably  1769. 

293.  SHIRAI  GOMPACHI. 

Hashira-ye.  Signed:  Suzuki  Harunobu  ga.  Probably  1769. 

Shirai  Gompachi  was  the  ronin  lover  of  the  beautiful  Komurasaki. 
The  story  of  their  attachment  is  familiar  to  every  Japanese  and  is 
excellently  told  for  English  readers  in  Mitford’s  “Tales  of  Old 
Japan.”  In  one  hand  the  young  man  carries  a  basket  hat  (amigasa), 
which  when  worn  rested  upon  his  shoulders  and  effectively  concealed 
his  features.  This  and  the  flute  carried  in  his  other  hand  are  dis¬ 
tinguishing  features  of  the  costume  of  the  komuso,  a  name  given  to 
men  of  the  Samurai  class  who,  having  committed  some  political 
offense  or  other  crime,  were  permitted  to  take  refuge  in  certain  asylums 
known  as  Komuso-dera.  Here  they  were  under  a  rule  as  strict  and 
autocratic  as  in  any  prison,  but  they  had  a  certain  amount  of  liberty 
provided  they  did  not  abuse  the  privilege.  A  second  offense  while 
living  in  the  sanctuary  was  punishable  with  death.  The  komuso  were 
obliged  to  wear  a  prescribed  costume  by  which,  when  they  went 
abroad,  their  identity  was  entirely  hidden,  and,  as  they  were  forced 
to  live  by  begging,  a  flute  instead  of  the  voice  was  used  to  attract 
attention  to  their  need.  Gompachi  adopted  this  costume  as  a  disguise 
when  visiting  his  lady  love. 

294-  KOMURASAKI  IN  KOMUSO  ATTIRE. 

Hashira-ye.  Signed:  Harunobu  ga.  Probably  1769. 

Companion  piece  to  the  foregoing. 


—77— 


SUZUKI  HARUNOBU 


295.  tall  woman  putting  on  a  basket  hat. 

Hashira-ye.  Signed :  Harunobu  ga.  Probably  1769. 

296.  VERY  TALL  WOMAN  PLAYING  THE  SAMISEN. 

Hashira-ye.  Signed :  Harunobu  ga.  Probably  1769. 

297-  WOMAN  IN  WHITE  UNDER  A  SNOW-LADEN  WIL¬ 
LOW  TREE. 

Hashira-ye.  Not  signed,  but  has  been  trimmed  a  good  deal  and 
the  signature  may  have  been  cut  off.  Probably  1769. 

298.  WOMAN  IN  A  PINK  KIMONO  CARRYING  AN 
ORANGE  UMBRELLA  IN  A  SNOW  STORM. 

Hashira-ye.  Signed :  Suzuki  Harunobu  ga.  Probably  1769. 

299-  AN  OIRAN  ON  PARADE  IN  A  SNOW  STORM. 
Hashira-ye.  Not  signed.  Probably  1769. 

The  yellow  umbrella  is  held  above  her  head  by  a  servant  who 
does  not  appear  in  the  picture.  Notable  for  the  color  harmony  of 
orange,  yellow  and  grays. 


300.  VERY  TALL  WOMAN  SEATED  BENEATH  A  TORII 
AND  ANOTHER  WOMAN  POINTING  OUT  SOME¬ 
THING  TO  HER  IN  A  KUSAZOSHI  (“YELLOW 
BOOK,”  OR  NOVELETTE). 

Hashira-ye.  Signed :  Harunobu  ga.  Probably  1769. 

301.  OSEN  OF  THE  KAGI-YA  TEA-HOUSE  AT  KASA- 
MORI  DIPPING  HOT  WATER  FROM  A  KETTLE. 

Hashira-ye.  Signed:  Harunobu  ga.  1769  or  1770. 

One  of  the  most  distinguished  of  the  prints  that  Harunobu  made 
of  the  famous  beauty. 


302.  AN  OIRAN  HOLDING  A  LETTER  AND  TALKING 
TO  HER  PET  DOG. 

Hashira-ye.  Signed :  Suzuki  Harunobu  ga.  About  1769. 

303.  THE  LADY  JOSAN  NO  MIYA  AND  HER  PE' 
KITTEN. 

Hashira-ye.  Signed :  Harunobu  ga.  Probably  1769. 


—78— 


HARUNOBTT 

Musume  carrying  an  umbrella  on  a  windy  day 


Xo.  247. 


HARUNOBU 

No.  306.  Woman  with  pet  monkey 


No.  310.  The  lovers  Komurasaki 
and  Gompachi 


SUZUKI  HARUNOBU 


304.  YOUNG  MAN  DISGUISED  AS  A  KOMUSo  SECRET¬ 
LY  VISITING  TWO  GIRLS  WHOSE  HEADS  APPEAR 
AT  A  BARRED  WINDOW. 

Chuban.  Series:  Fuzoku  Shiki  Kasen  (Customs  of  the  Four 
Seasons).  Signed:  Suzuki  Harunobu  zu.  1769  or  1770. 

This  is  one  of  a  series  of  thirteen  prints  for  the  thirteen  lunar 
months  of  the  year  1770.  It  is  inscribed  “Gatsu,”  the  fourth,  or 
“flower  month.”  In  printing  it  twelve  blocks  have  been  used. 

305.  YOUNG  MAN  DISGUISED  AS  A  KOMUSO  SECRET¬ 
LY  VISITING  TWO  GIRLS  WHOSE  HEADS  APPEAR 
AT  A  BARRED  WINDOW. 

Chuban.  Signed :  Harunobu  ga. 

Whether  this  is  a  second  design  by  Harunobu  or  a  reissue  by 
another  hand  is  not  easy  to  determine.  It  appears  to  be  of  later  date, 
but  that  is  not  at  all  certain.  Only  eight  blocks  have  been  used  instead 
of  the  twelve  required  for  the  other  print. 

306.  WOMAN  WITH  A  PET  MONKEY. 

Hashira-ye.  Signed :  Suzuki  Harunobu  ga.  About  1770. 

In  the  color  schemes  of  the  first  editions  of  Harunobu’s  more 
important  works  yellow  was  often  a  dominant  note.  Here  two  yel¬ 
lows  were  used  in  combination  with  purple  and  blue.  The  fading  of 
the  latter  into  neutral  hues  which  cannot  be  described  in  words, 
adds  much  to  the  beauty  of  the  print  which  is  one  of  Harunobu’s  mas¬ 
terpieces  and  is  as  charming  in  line  as  in  color. 

307.  LOVERS  WALKING  UNDER  AN  UMBRELLA  IN 
THE  SNOW. 

Hashira-ye.  Signed :  Harunobu  ga.  Probably  1770. 

308.  WOMAN  IN  A  GAUZE  KIMONO  STANDING  BY  A 
POT  OF  PINKS. 

Hashira-ye.  Signed:  Suzuki  Harunobu  ga.  Publisher:  Eiiudo. 
Probably  1770. 

It  is  very  unusual  for  one  of  Harunobu’s  prints  except  those  de¬ 
signed  in  his  early  years,  to  bear  a  publisher’s  mark.  It  seems  probable 
that  he  was  his  own  publisher,  and  if  so  the  publisher’s  marks  that 
appear  on  a  few  prints  clearly  in  the  style  of  his  last  year  may  indicate 
that  the  prints  though  designed  by  him  were  not  published  until  after 


—79— 


SUZUKI  HARUNOBU 


his  death.  It  is  known  that  he  left  some  unpublished  drawings,  for  one 
of  which  Koryusai  furnished  the  color  scheme,  with  an  apology  to  his 
friend  for  so  doing. 

309.  YOUNG  WOMAN  HANGING  A  MOSQUITO  NET 
CANOPY  OVER  A  BED. 

Hashira-ye.  Signed:  Suzuki  Harunobu  ga.  Publisher.  Eijudo. 
Probably  1770. 

310.  THE  LOVERS  KOMURASAKI  AND  GOMPACHI. 

Hashira-ye.  Not  signed.  Probably  1770. 

This  print  is  in  Harunobu’s  last  and  noblest  manner.  The  com¬ 
position  of  line  is  masterful,  the  treatment  of  the  black  masses  strong 
and  splendid.  Its  dignity  and  grace  steadily  grow  upon  the  beholder 
who  has  eyes  to  see.  Nothing,  it  would  seem  at  first  sight,  could  be 
easier  to  do;  few  things,  it  will  be  perceived  after  long  and  close 
study,  could  well  be  more  difficult. 

31 1.  AMAGOI  (PRAYING  FOR  RAIN)  KOMACHI. 

Oban.  Signed  :  Suzuki  Harunobu  ga. 

This  is  one  of  the  large  prints  which  Harunobu  began  to  design 
during  the  last  year  of  his  life.  Only  a  small  number  were  issued 
before  death  brought  his  labors  to  a  close. 


SHIBA  KOKAN 

In  Japan  the  artist  who  at  one  time  called  himself  Harushige, 
and  later  adopted  the  go  (brush  name)  Shiba  Kokan,  is  best  known 
as  a  painter  of  pictures  and  an  engraver  of  copper  plates  in  European 
or  semi-European  style.  In  the  West  his  chief  claim  to  distinction  is 
his  confession  that  after  the  death  of  Harunobu  he  forged  the  name 
of  that  master  to  a  number  of  prints  which  resembled  his  work  so 
closely  that  no  one  suspected  the  deception.  “Indeed,”  he  said, 
“people  took  me  for  Harunobu,  so  I  felt  uneasy  in  my  conscience  about 
the  misunderstanding  and  adopted  the  name  of  Harushige  for  my 
prints.” 

The  personal  name  of  Kokan  was  Ando  Kichijiro.  He  was  born 
in  1747  and  died  in  1818.  How  early  he  entered  the  studio  of 
Harunobu  we  do  not  know;  but  he  was  an  apt  pupil  and  it  may 


—so— 


SHIBA  KOKAN 


be  that  some  of  the  unsigned  prints  in  Harunobu’s  style  that  appear 
to  be  of  later  date  than  1765  or  1766  were  designed  by  him.  The 
language  used  in  his  confession  seems  to  indicate  that  the  name 
Harushige  was  not  adopted  until  after  Harunobu’s  death.  If  so 
then  we  may  infer  that  Harunobu  did  not  confer  upon  his  pupil  the 
right  to  use  the  syllable  Haru  as  a  part  of  his  brush  name;  and  this 
implies  either  that  Kokan  had  not  at  the  age  of  twenty-three  acquired 
such  proficiency  as  to  win  the  master’s  approval,  or,  as  is  more 
probable,  that  they  had  a  falling  out  prior  to  Harunobu’s  last  illness. 

How  closely  the  prints  signed  Harushige  resemble  those  by 
Harunobu  the  few  here  exhibited  will  afford  some  indication.  The 
identification  of  the  prints  bearing  forged  signatures  is  not  easy.  Both 
artists  have  their  mannerisms,  but  these  are  more  in  evidence  in  some 
drawings  than  in  others,  and  allowance  has  always  to  be  made  for 
slight  modification  of  the  drawing,  especially  that  of  the  faces,  in  the 
process  of  engraving. 

312.  AMAGOI  KOMACHI. 

Chuban.  Signed :  Harushige  ga. 

The  comparison  between  the  work  of  Harunobu  and  of  Harushige 
in  treating  the  same  subject  is  interesting  and  instructive. 

313.  A  LATE  COMER. 

Chuban.  Signed :  Harushige  ga. 

Harunobu’s  style  is  closely  assimilated  but  there  are  slight  differ¬ 
ences.  Note  the  peculiar  tapering  necks  and  the  expression  of  the 
faces. 

314.  HAGI  NO  TAMAGAWA. 

Chuban.  Signed :  Harunobu  ga. 

Two  women  seated  on  a  shogi  (wooden  bench)  looking  at  the 
hagi  (bush  clover)  growing  by  their  side. 

Without  much  doubt  this  is  one  of  the  prints  to  which  Kokan 
forged  Harunobu’s  signature.  The  tapering  necks  are  much  in 
evidence. 


ARTIST  UNKNOWN 

It  is  possible  that  these  prints  may  be  by  Harunobu,  but  with 
more  probability  their  authorship  may  be  ascribed  to  Tachibana 
Minko,  who  is  known  to  have  designed  some  calendar  prints  for 
the  year  1765. 


—81— 


ARTIST  UNKNOWN 


315.  CHINESE  SAGE  STANDING  BEFORE  A  KORO  IN 
WHICH  INCENSE  IS  BURNING. 

Chuban.  Printed  in  seven  colors.  Not  signed.  1764  or  1765. 
Calendar  for  1765.  The  koro  is  inscribed  “Meiwa  ni”  (second 
year  of  Meiwa  period)  ;  and,  concealed  in  the  shippo,  or  precious 
things  of  Buddhism  that  ornament  the  sage’s  coat,  are  the  numerals 
for  the  large  months  of  the  year. 

316.  THE  MYTHICAL  CHINESE  PRINCESS  SI  WANG 
MU. 

Chuban.  Printed  in  seven  colors.  Not  signed.  1764  or  1765. 


KOMATSUKEN 

Komatsuken  (which  may,  but  should  not  be  pronounced 
Shoshoken)  was  the  brush  name  of  an  artist  named  Sanuemon,  who 
was  also  the  proprietor  of  a  drug  shop  called  Komatsu-ya  in  Iida 
Machi.  Besides  the  go  Komatsu  and  Komatsuken,  he  sometimes 
signed  Hyakuki,  which  indicates  his  probable  identity  with  the  artist 
Tomikawa  Fusanobu,  who  also  used  that  brush  name.  He  was  a 
prolific  painter  of  the  subjects  called  shunga  by  the  Japanese.  So  far 
as  known  all  his  prints  were  calendars  for  1765.  Some  of  these 
were  quite  simple;  others  required  all  of  the  resources  of  the 
engraver’s  and  printer’s  art  for  their  production.  All  are  charming  in 
design  and  in  color,  and  are  exquisitely  engraved  and  printed. 

317.  A  NOBLE  LADY  CROSSING  A  ROOM  SUPPORTED 
BY  TWO  WOMEN  ATTENDANTS. 

Chuban.  Full-color,  with  gold,  silver,  and  gauffrage.  Signed: 

Komatsuken  ga,  and  by  the  printer :  Raishi  ko. 


ISODA  KORYUSAI 

Isoda  Shobei  Masakatsu,  known  as  Koryusai  (Lake  dragon  stu¬ 
dio),  was  a  samurai,  and  until  he  became  a  ronin  was  a  retainer  of  the 
noble  family  of  Tsuchiya  of  Ogawamachi,  Edo.  Breaking  away 
from  the  restraints  that  were  imposed  upon  men  of  his  class,  he 
entered  the  studio  of  Nishimura  Shigenaga,  but  soon  left  it  to  be- 


—82— 


ISODA  KOltYUSAI 


come  a  pupil  of  Harunobu,  and  was  given  the  name  of  Haruhiro. 
This  name  he  used  for  a  short  time  only  when  he  changed  to  Ko- 
ryusai,  which  was  also  a  gift  from  Harunobu,  who,  it  is  said,  had  used 
it  himself  for  literary  purposes.  His  early  work  is  so  much  like  that 
of  Harunobu  that  if  not  signed  it  might  well  be  taken  for  it.  He 
had  a  studio  at  Yonezawa-cho,  Yagenbori,  Ryogoku,  close  to  that  of 
Harunobu,  and  after  Harunobu’s  death  he  was  for  more  than  a 
decade,  until  distanced  by  Kiyonaga,  one  of  the  foremost  artists  of 
the  school,  equalled  only  by  Shunsho  and  Buncho,  whose  work  lay 
in  a  different  field,  and  by  Shigemasa,  who  produced  comparatively 
little.  Koryusai  was  particularly  skillful  as  a  designer  of  pillar  prints 
(hashira-ye) .  He  was  also  a  colorist  of  the  first  rank.  About 
1781,  probably  at  the  solicitation  of  the  Director  of  the  Mint,  who 
was  one  of  his  closest  friends,  he  gave  up  print  designing,  devoted 
his  attention  to  painting,  and  was  given  the  honorary  title  of  Hokyo. 
The  date  of  his  death  is  not  known. 

318.  TWO  WOMEN  ASSISTED  BY  A  YOUNG  GIRL  CUT¬ 
TING  OUT  AND  SEWING  GARMENTS. 

Koban.  Series:  Furyu  Shogei  Zukushi.  (Elegant  miscellaneous 
collection).  Signed:  Koryu  ga.  About  1768. 

319-  THE  GEMBUKU  OR  COMING-OF-AGE  ceremony 
OF  A  YOUNG  SAMURAI. 

Chuban.  Signed :  Koryu  ga.  About  1769. 

320.  AN  OIRAN  ACCOMPANIED  BY  HER  LOVER  AND 
A  SERVANT  CARRYING  AN  ODAWARA  LANTERN 
ON  THE  EVENING  OF  THE  BON  MATSURI. 

Chuban.  Series:  Furyu  Ju-ni  Setsu.  (Elegant  twelve  seasons). 
Signed :  Koryu  ga.  About  1769. 

321.  YOUNG  COUPLE  VIEWING  THE  LESPEDEZA  IN 
BLOOM  AT  HAGIDERA. 

Chuban.  Series :  Edo  Meisho  Si  Ichi  Gatsu.  (Edo  views  of  every 
month).  This  for  the  eighth  month.  Signed:  Koryu  ga.  About 


322.  THE  OIRAN  KARAUTA  (CHINESE  POEM)  AND 
KUREYUKI  (EVENING  SNOW)  WALKING  IN  THE 
SNOW,  A  MAN  SERVANT  ATTENDING  THEM. 

Chuban.  Series:  Seiro  Meifu  Hakkei.  (Eight  views  in  the  Envi¬ 
rons  of  Edo).  Signed:  Koryu  ga.  About  1770. 


—S3— 


ISODA  KORYUSAI 


323.  GEESE  FLYING  DOWN  AT  THE  YOSHIWARA. 

Chuban.  Series:  Edo  Meifu  Hakkei.  (Eight  views  in  the  Envi¬ 
rons  of  Edo).  Signed:  Koryu  ga.  About  1770. 

A  woman  holding  a  letter  for  which  another  woman  seated  at 
her  feet  reaches  out.  Through  the  window  geese  are  seen  flying 
down. 

324.  IDENTIFYING  THE  KOMUSO. 

Chuban.  Signed :  Koryusai  ga.  About  1770. 

325.  THE  ARCHERY  GALLERY. 

Chuban.  Signed:  Koryu  ga.  About  1770. 

326.  SHOOTING  THE  TIGER. 

Chuban.  Signed :  Koryusai  ga.  About  1770. 

A  tiger  painted  on  a  tsuitate  (a  kind  of  screen)  furnishes  a  target 
for  the  small  boy  with  his  bow  and  arrows. 

327.  TWO  GEISHAS  IN  A  PARLOR  PRACTISING 
GIDAYU. 

Chuban.  Series:  Furyu  Ju-ni  Shi.  (Elegant  Twelve  Zodiac 
Signs).  Signed:  Koryusai  ga.  About  1770. 

Gidayu  is  a  kind  of  recitation  or  chant  with  musical  accompani¬ 
ment.  The  zodiac  sign  here  represented  is  the  snake,  which  is  the 
peculiar  emblem  of  the  geisha. 

328.  A  PRACTICAL  JOKE. 

Chuban.  Signed:  Koryusai  ga.  About  1770. 

A  young  woman  fastening  a  wisp  of  paper  in  the  hair  of  a  young 
man  who  has  fallen  asleep  while  seated  by  a  kotatsu,  reading  a  book. 

329.  A  MUSUME  MOSO. 

Chuban.  Series:  Fuzoku  Yamato  Niju  Shi  Ko.  (Japanese  ver¬ 
sions  of  well-known  Chinese  Tales).  Signed:  Koryusai  ga.  About 
1770. 

Another  Ukiyo-e  version  of  the  legend  of  Moso.  See  note  to 
No.  223. 

330.  LOVERS  WALKING  UNDER  AN  UMBRELLA,  IN 
THE  SNOW. 

Hashira-ye.  Signed :  Koryu  ga.  About  1770. 


—84— 


ISODA  KORYUSAI 


331.  YOUNG  MAN  ON  THE  BANK  OF  A  RIVER  HOLD¬ 
ING  A  GIRL  ON  HIS  BACK  AND  LOOKING  AT  HER 
REFLECTION  IN  THE  WATER  BELOW. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1770. 

There  is  an  exceptionally  clever  modern  re-engraving  of  this  print 
with  the  signature  “Harunobu”  substituted  for  that  of  Koryusai. 


332.  WOMAN  SEATED  BY  A  KOTATSU  (COVERED 
FIRE  BOX)  WAITING  FOR  A  MAN  WHO  IS  SEEN 
THROUGH  THE  WINDOW,  COMING  UNDER  AN 
UMBRELLA  IN  A  DRIVING  RAIN. 

Hashira-ye.  Signed:  Koryusai  ga.  About  1770. 

333.  WOMAN  BEARING  A  LETTER  DESCENDING  A 
FLIGHT  OF  STAIRS  WHILE  A  YOUNG  MAN  ON  A 
BALCONY  ABOVE  CLAPS  HIS  HANDS  TO  CALL 
HER  BACK. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1770. 

334.  BOY  AND  HIS  PARENTS  ON  THE  DRUM  BRIDGE 
AT  KAMEIDO  THROWING  BITS  OF  CAKE  TO 
GOLDFISH  IN  THE  POND  BELOW. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1770. 

335.  YOUNG  MAN  IN  WINTER  ATTIRE  AND  CARRY¬ 
ING  A  SNOW-LADEN  UMBRELLA,  APPLYING  FOR 
ADMITTANCE  AT  THE  ENTRANCE  TO  A  HOUSE. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1771. 

336.  WOMAN  COMING  FROM  A  PUBLIC  BATH  HOUSE; 
THROUGH  THE  WINDOW  A  NUDE  WOMAN  IS 
SEEN  DRYING  HERSELF. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1771. 

337.  GIRL  HOLDING  A  KITE  WHICH  A  YOUNG  MAN 
IS  PREPARING  TO  FLY. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1771. 

338.  STROLLING  MUSICIANS  UNDER  A  WILLOW 
TREE. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1771. 


—85— 


ISODA  KORYUSAI 


339.  TWO  YOUNG  WOMEN  UNDER  A  WILLOW  TREE 
ON  A  BREEZY  DAY. 

Hashira-ye.  Signed:  Koryusai  ga.  About  1771. 

340.  TWO  YOUNG  WOMEN  HOLDING  AN  UMBRELLA 
IN  A  SHOWER  WITH  HIGH  WIND. 

Hashira-ye.  Signed:  Koryusai  zu.  About  1771. 

341.  AN  INTERVIEW  BETWEEN  A  YOUNG  MAN  AND 
A  YOUNG  WOMAN  AT  AN  ENTRANCE  GATE  IN 
WINTER. 

Hashira-ye.  Signed:  Koryusai  ga.  About  1771. 

342.  WOMAN  PLAYING  WITH  A  PET  MONKEY. 

Hashira-ye.  Signed:  Koryusai  ga.  About  1771. 

343.  TALL  WOMAN  AND  A  WAITING  YOUNG  MAN. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1772. 

344-  YOUNG  LOVERS  STANDING  UNDER  A  CHERRY 
TREE. 

Hashira-ye.  Signed:  Koryusai  ga.  About  1771. 

345-  YOUNG  MAN  KNEELING  BEFORE  A  WOMAN 
AND  HANDING  HER  A  LETTER. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1772. 

346.  JOSAN  NO  MIYA  PLAYING  WITH  HER  PET 
KITTEN. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1772. 

347.  TALL  WOMAN  IN  NIGHT  COSTUME,  HOLDING 
A  PET  RAT  AND  FEEDING  IT  WITH  SUGAR. 

Hashira-ye.  Signed:  Koryusai  ga.  About  1772. 

348.  AMAGOI  KOMACHI. 

Hashira-ye.  Signed:  Koryusai  ga.  About  1772. 

Instead  of  the  ode  which,  when  recited  by  the  ninth  century 
poetess  Ono  no  Komachi  brought  rain  to  break  a  long  drought,  the 
modern  young  woman  accomplishes  the  same  feat  by  reading  a  love 
letter.  This  is  a  characteristic  Ukiyo-e  version  of  a  classic  incident. 


—86— 


ISODA  KORYUSAI 

349-  MOTHER  AND  SON  OUT  FOR  A  WALK. 

Hashira-ye.  Signed:  Koryusai  ga.  About  1773. 


350.  TWO  WOMEN  DANCING. 

Hashira-ye.  Signed:  Koryusai  ga.  About  1773. 


351-  WOMAN  STANDING  WITH  HER  HANDS  CLASPED 
ABOUT  ONE  OF  THE  POSTS  OF  A  HOUSE. 
Hashira-ye.  Signed :  Koryu  ga.  About  1773. 


352.  WOMAN  PLAYING  A  KOTO  AND  ANOTHER  EX¬ 
AMINING  A  BOX. 

Hashira-ye.  Signed:  Koryusai  ga.  About  1774. 


353-  THREE  WOMEN  READING  A  LONG  LETTER. 
Hashira-ye.  Signed:  Koryu  ga.  About  1774. 


354-  MITSUHANA  OF  OHISHI-YA  PLAYING  WITH  A 
PET  MONKEY. 

Koban.  Series :  Seiro  Tokiwa  Nishiki.  Signed:  Koryusai  zu. 
About  1774. 


SEVEN  PRINTS  OF  THE  SERIES:  “HINAGATA 
WAKANA  NO  HATSU  MOYO.” 

Oban.  Signed:  Koryusai  ga.  Publisher:  Eijudo.  About  1775. 
T  his  is  a  series  of  large  prints  of  Yoshiwara  beauties  to  which 
Kiyonaga  as  well  as  Koryusai  contributed.  The  prints  appear  to 
have  been  issued  at  regular  intervals,  perhaps  once  a  month,  for  a 
considerable  period. 


355-  TAKIKAWA  AND  KATARAI  OF  OGI-YA. 

356.  TAMAZUSA  OF  YATA-YA  AND  ATTENDANTS. 
357-  TATSUHANA  OF  OGI-YA  AND  ATTENDANTS. 

358.  SHIOGINU  OF  TSUTA-YA  AND  ATTENDANTS. 

Remarkably  preserved;  the  colors  quite  as  when  fresh  from  the 
blocks. 


— S7— 


1SODA  KORYUSAI 


359-  SHIROTAE  OF  OKANA-YA  AND  HER  KAMURO 
LOOKING  AT  GOLDFISH  IN  A  TANK. 

360.  SAYOKINU  OF  YATSUME-YA  ARRANGING  PEACH 
BLOSSOMS  IN  A  FLOWER  BASKET. 

361.  OSHU  OF  YAMAGUCHI-YA  TALKING  TO  ONE  OF 
HER  KAMURO  WHILE  THE  OTHER  LOOKS  AT 
WHITE  RATS  IN  A  CAGE. 


362.  CHOYO  (THE  CHRYSANTHEMUM  FESTIVAL). 

Oban.  Series:  Furyu  Yaku  Gosekku.  (Elegant  Services  for  the 
Five  Festivals).  Signed:  Koryu  ga.  About  1776. 

A  geisha  and  her  assistant  arranging  chrysanthemums  in  a  flower 
basket. 

363.  WOMAN  PLAYING  A  TSUZUMI  AS  THE  MOON 
RISES. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1774. 


364.  YOUNG  MAN  AND  WOMAN  GREETING  THE  RIS¬ 
ING  SUN. 

Hashira-ye.  Signed :  Koryu  ga.  About  1775. 

The  reference  here  appears  to  be  to  Jo  and  Uba,  the  spirits  of 
the  pine  trees  of  Sumiyoshi  and  Takasago. 

365.  TWO  TALL  GEISHAS. 

Hashira-ye.  Signed:  Koryu  ga.  Publisher:  Eijudo.  About  1775. 

366.  TALL  WOMAN  STANDING  LOOKING  DOWN  AT 
A  LETTER  THAT  LIES  AT  HER  FEET. 

Hashira-ye.  Signed :  Koryusai  ga.  About  1776. 

367.  TALL  WOMAN  IN  A  BLACK  UCHIKAKE  WALK¬ 
ING  IN  THE  SNOW  AND  CARRYING  AN  ORANGE 
AND  BLUE  UMBRELLA. 

Hashira-ye.  Signed:  Koryu  ga.  Publisher:  Eijudo.  About  1776. 


FOUR  BIRD  AND  FLOWER  PRINTS. 

Chuban,  from  a  series  without  title  or  signature. 


— S8— 


ISODA  KORYUSAI 


368.  CRANES,  IRIS,  AND  RISING  SUN. 

369.  PHEASANTS  AND  PEACH  BLOSSOMS. 

370.  MANDARIN  DUCKS  AND  KOBAI  (RED  PLUM) 
BLOSSOMS. 

371.  WHITE  HERONS  AND  WATER  PLANTS. 

372.  CRANES,  BAMBOO,  AND  SUN. 

Chuban.  Signed :  Isoda  Koryu  ga. 

373-  COCKS  FIGHTING  NEAR  A  CLUMP  OF  BAMBOOS. 

Chuban.  Signed :  Koryu  ga. 

374-  PARROT  PERCHING  ON  A  SASANKA  TREE. 

Koban.  Signed :  Koryusai  ga. 

375.  A  WHITE  HARE  ON  A  ROCK  BY  THE  SEA,  ON  A 
MOONLIGHT  NIGHT,  AND  ANOTHER,  OF  SAL¬ 
MON  HUE  RUNNING  ACROSS  THE  WAVES. 

Chuban.  Not  signed. 

This  is  a  notable  print.  The  waves  are  rendered  by  exceptionally 
beautiful  gauffrage,  and  the  printing  throughout  is  done  with  the 
greatest  care.  A  popular  myth  of  old  Japan  was  that  the  hare 
could  run  across  the  waves  on  or  about  the  eighteenth  day  of  the 
eighth  moon. 


TORII  KIYONAGA 

The  fourth  artist  to  head  the  Torii  line  (it  is  usual  to  begin 
the  enumeration  with  Kiyonobu)  was  an  adopted  scion  of  the  house. 
His  name  was  Sekiguchi  Ichibei  and  he  was  the  son,  born  in  1742, 
of  Sekiguchi  Shinsuke,  who  kept  a  tobacco  shop  known  as  Shiroki- 
ya  at  Shinba,  Edo,  and  it  is  said  that  for  a  while  when  quite  young 
he  was  employed  in  a  book  shop  kept  by  one  Teramoto.  He  studied 
under  Torii  Kiyomitsu,  but  from  the  first  his  work  displayed  marked 
individuality  and  bears  little  resemblance  to  that  of  his  master.  In 
the  tremendous  power  of  his  facile  brush  he  recalls  the  work  of  the 
founder  of  the  line,  Torii  Kiyonobu,  but  he  was  far  more  versatile 
and  had  the  wider  resources  of  a  highly  developed  art  at  his  command) 


—89— 


TORII  KIYONAGA 


Like  his  predecessors  in  the  school,  he  painted  with  great  skill  the 
large  signs  that  adorned  the  fronts  of  the  leading  theatres  and  were 
changed  with  each  change  of  bill.  It  is  related  that  instead  of 
painting  these  in  his  studio  he  was  wont  to  travel  about  with  assist¬ 
ants  carrying  ladders,  and  to  execute  the  work  in  situ.  The  dominant 
characteristics  of  his  style  are  rugged  strength,  and  the  marvelous 
quality  of  his  brush  strokes.  At  the  height  of  his  power  his  influence 
over  his  contemporaries  was  so  great  that  almost  without  exception 
the  younger  men  among  them  copied  his  style  as  closely  as  they 
could.  About  1 790  he  gave  up  print  designing  for  the  more  honored 
occupation  of  painting.  His  paintings,  however,  are  rare,  though  he 
lived  until  the  year  1814.  His  residence  in  Yedo  was  in  Honzaimoku- 
cho,  Itchome,  and  in  his  later  years  at  Bamba  in  the  Honjo  district. 
Kiyonaga  was  one  of  the  four  or  five  greatest  artists  of  the  Ukiyo-e 
school,  and  the  culminating  figure  in  its  forward  movement. 

376.  THE  ACTOR  SEGAWA  KIKUNOJO. 

Hosoe.  Beni,  yellow,  blue,  and  gray.  Signed :  Kiyonaga,  hitsu. 
Publisher:  Kamimura  Kichiemon.  Probably  1761. 

It  is  not  often  that  it  is  possible  to  trace  the  development  of  a 
great  artist’s  skill  during  the  formative  period.  That  we  can  do  so 
in  the  case  of  Kiyonaga  lends  interest  to  such  a  print  as  this  which 
is  plainly  the  work  of  a  tyro.  So  unformed  are  the  lines  that  it  is  a 
matter  for  wonder  that  a  publisher  could  be  found  for  it.  And  yet 
there  is  a  promise  for  the  future  in  the  work  of  the  young  man  who 
could  not  have  been  more  than  nineteen  years  old  when  the  drawing 
was  made. 

377.  BANDO  HIKOSABURO  AS  DOZAIMON  DENKICHI 
IN  THE  DRAMA  “YAOYA  OSHICHI.” 

Hosoe.  Beni,  yellow,  blue,  and  gray.  Signed :  Kiyonaga  ga.  Pub¬ 
lisher  :  Sakai-ya.  Probably  1764. 

In  the  interval  between  the  production  of  this  print  and  the 
preceding  one  the  increase  in  skill  is  very  marked.  There  is  a  little, 
but  only  a  little,  resemblance  to  the  style  of  Kiyomitsu. 

378.  NAKAMURA  TOMIJURO  IN  THE  ROLE  OF  HINGA 
UBAGATAKE  NO  MEGITSUNE. 

Hosoe.  Five  color  blocks.  Signed:  Kiyonaga  ga.  About  1765. 

Progress  at  this  stage  is  not  rapid,  but  it  is  steady. 


—90— 


TORII  KIYONAGA 


379.  A  MIAI  (LOOKING-AT-EACH-OTHER  MEETING). 

Koban :  Series:  Konrei  Ju-ni  Shiki.  (The  twelve  stages  of  a 
marriage  contract).  About  1767. 

Here  Kiyonaga  essays  a  series  in  the  style  of  Harunobu,  who  at 
this  time  was  the  dominant  figure  in  the  Ukiyo-e  school,  with  only 
Shunsho  as  a  rival. 


380.  BANDO  MITSUGORO,  ICHIKAWA  MONNOSUKE 
AND  IWAI  HANSHIRO  IN  A  SHOSA  (ACTING  AND 
DANCING)  PERFORMNCE. 

Hosoe  triptych.  Signed :  Kiyonaga  ga.  About  1774. 

Shunsho’s  style  is  now  attempted,  but  there  is  more  of  Kiyonaga 
than  of  Shunsho  in  the  result. 


381.  YOSHIWARA  WOMEN  PREPARING  DECORA¬ 
TIONS  FOR  A  FESTIVAL. 

Chuban.  Series:  Kuruwa  Gosekku  Asobi.  (Amusements  of 
Women  on  the  Five  Festival  Days).  Signed:  Kiyonaga  ga.  About 
1775. 

Here  it  is  Koryusai  that  is  imitated,  though  there  is  quality  in 
the  line  that  Koryusai  could  not  achieve. 


382.  SEISHU  RAKUGAN  (GEESE  FLYING  DOWN  IN 
CLEAR  AUTUMN  WEATHER). 

Koban.  Series:  Shikki  Hakkei.  (Eight  views  of  the  Four  Sea¬ 
sons).  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About  1776. 

Two  women  are  standing  by  a  house,  and  one  is  looking  at  the 
geese  flying  down.  The  resemblance  is  now  to  the  style  of  Shigemasa, 
an  artist  highly  renowned  for  his  brush  strokes.  Kiyonaga  could  not 
follow  any  one  better  qualified  to  guide  him  in  this  regard,  but  not 
for  long  did  he  follow  anybody. 


383.  A  CHILDREN’S  GAME. 

Koban.  Series:  Furyu  Ju-ni  Kiko.  Title:  Satsuki  (Azalea),  the 
meaning  of  which  is  not  obvious.  Signed :  Kiyonaga  ga.  About 
1776. 

A  young  woman  out  for  a  walk  is  waylaid  by  two  boys  who  in 
fun  strike  her  with  clubs  of  braided  straw,  while  a  girl  claps  her 
hands  to  urge  them  on. 


—91— 


TORII  KIYONAGA 


384.  A  GIRL  AND  A  YOUNG  MAN  IN  A  TEA  ROOM 
PREPARING  FOR  THE  CHA-NO-YU  CEREMONY. 

Koban.  Series:  Zashiki  Hakkei.  (Eight  Parlor  Scenes).  Signed: 
Kiyonaga  ga.  About  1777. 

385.  AN  OIRAN  LOOKING  AT  HER  REFLECTION  IN 
A  MIRROR  AND  ANOTHER  STANDING  BY  HER 
SIDE. 

Koban.  Series :  Zashiki  Hakkei.  Signed :  Kiyonaga  ga.  About 

1777. 

386.  WOMAN  ALIGHTING  FROM  A  KAGO  AT 
YUMOTO. 

Koban.  Series:  Hakone  Shichito  Meisho.  (Seven  Famous  Hot 
Springs).  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About 

1778. 

Kiyonaga’s  individual  style  is  now  fully  developed.  He  under¬ 
takes  more  ambitious  performances  a  little  later,  but  these  small 
prints  are  by  no  means  the  least  attractive  of  his  works. 


387.  TWO  WOMEN  ON  THE  VERANDA  OF  AN  INN 
AT  MIYA-NO-SHITA;  ONE  SEATED  UPON  THE 
RAILING,  THE  OTHER  STANDING  WRAPPED  IN 
A  BATH  ROBE. 

Koban.  Series :  Hakone  Shichito  Meisho.  Signed :  Kiyonaga  ga. 
Publisher:  Eijudo.  About  1778. 


388.  UMA  NO  NAISHI. 

Koban.  Series:  Wakoku  Bijin  Ryaku  Shu  Signed:  Kiyonaga  ga. 
About  1780. 


389.  TALL  WOMAN  WITH  A  PET  DOG. 

Hashira-ye.  Series:  Furyu  Ju-ni  Shi  Inu.  (Elegant  Twelve  Zodiac 
Signs).  This  represents  the  sign  of  the  dog.  Not  signed.  About 
1780. 


390.  MAISUMI  OF  OMONJI-YA  ACCOMPANIED  BY 
TWO  SHINZO  AND  HER  KAMURO  SHIGEKI  AND 
NANAMI. 

Oban.  Series:  Hinagata  Wakana  no  Hatsu  Moyo.  Signed: 
Kiyonaga  ga.  Publisher:  Eijudo.  About  1780. 


—92— 


TORII  KIYONAGA 


391.  WOMAN  BATHING  IN  A  LARGE  TUB;  AND  OUT¬ 
SIDE  THE  BATH  ROOM  DOOR  ANOTHER  WOM¬ 
AN  IN  A  BLUE  YUKATA  TALKING  TO  A  BLACK 
DOG. 

Chuban.  Signed :  Kiyonaga  ga. 

First  state.  In  the  second  state  (Spaulding  and  Koechlin  collec¬ 
tions)  the  pattern  on  the  blue  yukata  is  changed,  also  the  diaper  pat¬ 
tern  on  the  cupboard  door,  and  in  the  upper  right-hand  corner  thd 
title  of  a  series  has  been  inserted. 

392.  SHICHI  GATSU  (THE  SEVENTH  MONTH). 

Koban.  Series:  Minami  Ju-ni  Ko.  (The  twelve  months  at  the 
south,  i.  e.  Shinagawa).  Signed:  Kiyonaga  ga.  About  1781. 

Geishas  at  an  evening  party  at  a  house  in  Shinagawa,  overlooking 
Edo  bay. 

393.  JU  GATSU  (THE  TENTH  MONTH). 

Same  series  as  the  foregoing. 

A  group  of  two  women,  a  man,  and  a  boy  at  the  entrance  to  a 
house. 

394.  VIEWING  CHERRY  BLOSSOMS  ON  ASUKA  HILL. 

Koban.  Series:  Edo  Hakkei.  (Eight  Edo  Views).  Signed: 
Kiyonaga  ga.  Publisher:  Eijudo.  About  1781. 

Two  girls  and  a  young  man  bearing  two  picnic  boxes  containing 
food. 

395.  TWO  WOMEN  VIEWING  THE  MANDARIN  DUCKS 
AT  THE  KUJAKUJA-YA  TEA  HOUSE  IN  SHITAYA, 
EDO. 

Koban.  Series:  Cha  Mise  Ju  Kei.  (Ten  tea-house  scenes). 
Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About  1781. 

396.  GEISHA  AND  HER  ASSISTANT  CARRYING  A  SAMI- 
SEN  BOX. 

Hashira-ye.  Signed :  Kiyonaga  ga.  About  1781. 

397.  TALL  WOMAN  STANDING  UNDER  A  WILLOW 
TREE  AND  HOLDING  A  BLUE  UMBRELLA  OVER 
HER  HEAD. 

Hashira-ye.  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About 
1781. 


—93— 


TORII  KIYONAGA 


398.  TALL  WOMAN  IN  A  BLUE  YUKATA  (BATH  ROBE) 
FANNING  HERSELF  WITH  AN  UCHIWA  (ROUND 
FAN). 

Hashira-ye.  Signed :  Kiyonaga  ga.  About  1781. 

399.  THE  GEISHA  OSUTE  OF  TAMIGAOKA-YA  AS  A 
KAGURA  DANCER. 

Hashira-ye.  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About 
1781. 


400.  AN  OIRAN  AND  TWO  ATTENDANTS  STANDING 
BY  THE  CHOZUBACHI  AT  A  SHINTO  TEMPLE. 

Koban.  Series:  Onna  Imagawa.  (Etiquette  for  women).  Signed: 
Kiyonaga  ga.  Publisher:  Iseji.  About  1781. 

401.  WOMAN  FISHING:  MOTHER  AND  DAUGHTER 
LOOKING  ON. 

Koban.  Series :  Enshoku  Hana  Kurabe.  Signed :  Kiyonaga  ga. 
About  1782. 


402.  YOUNG  SAMURAI  AND  A  BALD-HEADED  MAN 
STOPPING  IN  THE  ROAD  TO  SPEAK  TO  TWO 
GIRLS. 

Koban.  Series :  Edo  Meisho  Atsuga.  Signed :  Kiyonaga  ga. 
About  1782. 


403.  THREE  WOMEN  AND  A  SMALL  BOY  VIEWING  A 
FLOTILLA  OF  PLEASURE  BOATS  FROM  RYOGO- 
KU  BRIDGE. 

Koban.  Series:  Asakusa  Kinryusan  Hakkei.  (Eight  views  of 
Kinryusan).  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About 
1782. 


404.  BOY  REACHING  UP  FOR  A  PET  DOG  HELD  IN 
HIS  MOTHER’S  ARMS. 

Hashira-ye.  Signed:  Kiyonaga  ga.  About  1782. 


405.  A  POPULAR  VIEW  OF  KANZAN  AND  JITOKU. 
Hashira-ye.  Signed :  Kiyonaga  ga.  About  1782. 

The  Taoist  Rishi  Kanzan  and  Jitoku,  to  give  them  their  Japanese 
names,  were  frequently  depicted  by  the  painters  of  the  Kano  and 


—94— 


K I  YON AG A 

No.  431.  The  actors  Ichikawa  Yaozo  and  Ichikawa  Kichitaro 


K I  YON AG A 

No.  440.  Oiran  viewing  moonlight  on  Edo  Bay 


TORII  KIYONAGA 


Chinese  schools.  Kiyonaga  in  this  travesty  substitutes  a  love  lettec 
for  the  religious  makimono  carried  by  Kanzan  and  instead  of  the 
wizened  sages  shows  a  pair  of  young  lovers  standing  close  together. 

406.  WOMEN  BUYING  SINGING  INSECTS  FROM  A 
STREET  VENDOR. 

Koban.  Series:  Furyu  Shiki  no  Tsuki.  (Refined  view  of  temple 
visits  during  the  four  seasons).  Signed:  Kiyonaga  ga.  About 


407.  TWO  GIRLS  STRUGGLING  FOR  THE  POSSESSION 
OF  A  LETTER,  AND  ANOTHER  GIRL  LOOKING 
ON. 

Koban.  Signed:  Kiyonaga  ga.  About  1782. 

408.  VIEW  OF  FUJI  SAN  FROM  TOTSUKA  IN  AUTUMN. 

Koban.  Series:  Shiki  no  Fuji.  (Fuji  in  the  four  seasons). 
Signed :  Kiyonaga  ga.  About  1782. 

A  man  and  woman  travelling  along  the  highway  pause  while  the 
man  ties  his  sandal.  Fuji  is  seen  between  the  trunks  of  two  large 
pine  trees. 


409.  TALL  WOMAN  IN  A  BLUE  KIMONO  AND  RED 
OBI  AT  THE  ENTRANCE  TO  A  PUBLIC  BATH 
HOUSE. 

Hashira-ye.  Signed :  Kiyonaga  ga.  About  1783. 

410.  WOMAN  BRUSHING  HER  TEETH  WHILE  STAND¬ 
ING  ON  A  VERANDA  BY  A  POT  OF  MORNING 
GLORIES. 

Hashira-ye.  Signed:  Kiyonaga  ga.  About  1783. 

41 1.  A  BOY  BEING  CARRIED  BY  HIS  PARENTS  TO  THE 
DISTRICT  SHINTO  TEMPLE  FOR  THE  MIYA 
MAIRI  OR  NAMING  CEREMONY. 

Oban.  Signed :  Kiyonaga  ga.  About  1783. 

412.  TALL  WOMAN  STANDING  BY  A  BED  ON  WHICH 
ANOTHER  WOMAN  IS  SEATED  UNDER  A  MOS¬ 
QUITO  NET  CANOPY. 

Hashira-ye.  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About 
1783. 


TORII  KIYONAGA 


TWELVE  PRINTS  OF  THE  “AZUMA  NO  NISHIKI” 
(BROCADE  OF  THE  EASTERN  CAPITAL)  SERIES. 

Oban.  Signed :  Kiyonaga  ga.  About  1784. 

413.  WOMAN  TAKING  A  BOY  FOR  A  WALK  ON  HIS 
FIFTH  BIRTHDAY,  WHEN  FOR  THE  FIRST  TIME 
HE  WEARS  THE  CEREMONIAL  KAMISHIMO  AND 
HAKAMA  AND  HAS  HIS  HAIR  DRESSED  AND  TIED 
IN  A  KNOT. 

414.  TALL  WOMAN  IN  SUMMER  COSTUME,  AND  TWO 
MAIDS  FOLLOWING. 

415.  A  MORNING  ENCOUNTER:  A  WOMAN  GOING 
TO  A  PUBLIC  BATH  HOUSE  IN  A  SHOWER  TURNS 
TO  GREET  TWO  WOMEN  WHO  ARE  RETURNING. 

4x6.  WOMEN  BUYING  POTTED  TREES  AND  FUKU- 
JUSO  FROM  A  STREET  VENDOR  AT  NEW  YEAR’S. 

417.  CARRYING  A  BABY  GIRL  TO  THE  DISTRICT 
SHINTO  TEMPLE  FOR  THE  MIYA  MAIRI  OR 
NAMING  CEREMONY. 

418.  TWO  WOMEN  GOING  TO  A  PICNIC  ATTENDED 
BY  A  MAID  AND  A  MAN  SERVANT  BEARING 
BOXES  OF  PROVISIONS  AND  UTENSILS  FOR 
SERVING  THEM. 

The  colors  in  this  print  have  not  faded  or  decomposed  in  the 

slightest  degree.  The  unmodified  condition  of  the  blue  is  extremely 

rare. 

419.  LADY  ACCOMPANIED  BY  TWO  MAIDS,  ONE  OF 
WHOM  HOLDS  AN  UMBRELLA  OVER  HER,  TAK¬ 
ING  HER  YOUNG  SON  AND  HER  DAUGHTER  TO 
THE  DISTRICT  TEMPLE. 

420.  TWO  LADIES  OUT  FOR  A  WALK  ACCOMPANIED 
BY  A  MAID  SERVANT  AND  A  YOUNG  SAMURAI. 

One  of  the  ladies  carries  a  mamori  bukuro  (a  sort  of  talisman). 

The  lemon  yellow  is  a  novelty  in  Kiyonaga’s  color  schemes,  though 

Shunsho  made  use  of  it  more  than  ten  years  earlier. 


—96— 


TORII  KIYONAGA 


421.  A  SAMURAI  AND  HIS  FAMILY  OUT  FOR  A  WALK. 

422.  GROUP  OF  WOMEN  IN  A  PUBLIC  BATH  HOUSE. 
Two  of  the  women  are  standing  and  a  third  is  seated,  preparing 

to  cut  her  toe  nails  with  a  pair  of  scissors.  This  is  one  of  the  most 
highly  esteemed  of  Kiyonaga’s  prints. 

423.  VIEWING  THE  LESPEDEZA  IN  BLOOM  AT  HAGI- 
DERA. 

Diptych. 

424.  GROUP  OF  WOMEN  UNDER  A  CHERRY  TREE. 

Diptych. 

At  the  right  two  women  are  seated  on  a  shogi,  another  woman 
stands  by  behind  them  and  a  girl  holds  a  portable  hibachi  (fire-box) 
at  which  one  of  them  is  lighting  her  pipe.  At  the  left  two  women 
and  a  young  girl  are  gathering  spring  flowers.  The  women  wear 
the  tsunokakushi  or  paper  cover  to  protect  their  coiffures. 

Conscious  of  his  power,  Kiyonaga  now  essays  compositions  of 
extreme  difficulty.  In  the  right  hand  sheet  the  masses  are  arranged 
diagonally  and  vertically  in  sharply  contrasting  lines.  Only  a  con¬ 
summate  master  could  save  such  an  arrangement  from  failure.  Note 
how  the  composition  is  held  together  by  the  cloth  lying  upon  the 
bench,  and  by  the  red  sash  of  the  woman  in  gray.  And  how  skilfully 
are  the  two  sheets  designed  so  that  each  is  a  unit  by  itself  and  the 
unity  of  effect  is  completely  preserved  when  they  are  joined  togther. 

SEVEN  PRINTS  OF  ACTORS. 

Hosoe.  Signed:  Kiyonaga  ga.  About  1784. 

The  prints  of  this  series  are  all  of  distinguished  quality.  For 
some  inexplicable  reason  they  are  of  great  rarity. 

425.  THE  FIFTH  ICHIKAWA  DANJURO. 

426.  NAKAMURA  NAKAZO  AND  AZUMA  TOZO. 

427.  ICHIKAWA  MONNOSUKE  AND  AN  UNIDENTI¬ 
FIED  ACTOR. 

428.  MATSUMOTO  KOSHIRO  AND  MATSUMOTO 

DAISHICHI. 


—97— 


TORII  KIYONAGA 


429.  ICHIKAWA  YAOZ6  AND  ICHIKAWA  KICHITARO. 

430.  ARASHI  SANJURO  AND  ANOTHER,  UNIDENTI¬ 
FIED. 

431.  OTANI  HIROJI  AND  YAMASHITA  KINSAKU. 


432.  BOATING  PARTY  UNDER  RYOGOKU  BRIDGE. 

Oban  triptych.  Signed :  Kiyonaga  ga.  About  1785. 

433.  WOMEN  LANDING  FROM  A  PLEASURE  BOAT. 

Oban  triptych.  Signed :  Kiyonaga  ga.  About  1785. 

434.  USHIWAKA  SERENADING  JORURI  HIME. 

435-  First  and  third  sheets  of  an  oban  triptych.  Signed:  Kiyonaga  ga. 
Publisher:  Eijudo.  About  1785. 

Apparently  the  blocks  with  which  this  triptych  was  printed  were 
destroyed,  probably  in  the  great  fire  of  1786,  for  about  1788  Kiyonaga 
designed  another  triptych  presenting  the  same  subject  treated  quite 
similarly  though  varying  in  details,  such  as  the  coiffures  of  the 
women,  which  in  each  case  are  in  the  prevailing  mode.  An  im¬ 
pression  of  the  later  triptych  is  in  this  collection.  See  No.  457. 

436.  THE  IRIS  GARDEN. 

Oban  diptych.  Signed :  Kiyonaga  ga.  About  1785. 

The  blocks  of  this  print  were  also  probably  destroyed  in  the 
great  fire  of  1786.  As  in  the  cast  of  the  preceding  number  Kiyonaga 
made  a  second  design  of  the  same  subject  about  three  years  later. 
The  right-hand  sheet  of  the  later  print  is  reproduced  as  one  of  the 
illustrations  in  Professor  Fenollosa’s  “An  Outline  of  the  History  of 
Ukiyoye.” 

437.  THE  FERRY  BOAT. 

Oban.  Middle  sheet  of  a  triptych.  Signed :  Kiyonaga  ga.  About 
1785. 

This  again  is  a  sheet  of  a  triptych  of  which  there  were  two 
designs  at  an  interval  of  about  three  years.  In  this  instance,  however, 
the  later  design  did  not  follow  the  earlier  one  as  closely  as  in  the 
case  of  the  two  preceding  numbers. 


—98— 


TORII  KIYONAGA 


438.  THE  MERRYMAKERS. 

Oban  diptych.  Series:  Minami  Ju-ni  Ko.  (The  twelve  months 
at  the  south,  i.  e.  Shinagawa). 

The  series  of  twelve  diptychs,  of  which  this  is  one,  are  among 
Kiyonaga’s  most  notable  works.  The  scene  is  a  young  man  and 
a  group  of  women  making  merry  with  sake  and  the  music  of  the 
samisen.  Through  a  large  open  window  appears  the  water  of 
Edo  bay,  with  junks  at  anchor,  near  a  sandy  beach  where  people 
are  digging  clams. 

439.  VIEWING  THE  CHERRY  BLOSSOMS  AT  GOTEN- 
YAMA. 

Oban ;  right-hand  sheet  of  diptych.  Same  series  as  the  preceding 
number. 

440.  AN  OIRAN  LOOKING  OUT  AT  THE  MOONLIGHT 
ON  EDO  BAY,  THROUGH  A  BARRED  WINDOW, 
AND  TWO  OTHER  WOMEN  READING  A  LETTER 
BY  THE  LIGHT  OF  AN  ANDON. 

Oban.  Same  series. 

This  is  perhaps  Kiyonaga’s  finest  print.  Whether  the  entire 
composition  is  a  diptych  is  uncertain,  but  so  far  as  the  compiler  of 
this  catalogue  is  aware  a  second  sheet  is  not  known  to  exist. 

441.  SEIRO  YUKI  NO  ASA  (A  GREEN  HOUSE  ON  A 
SNOWY  MORNING). 

Oban.  Left-hand  sheet  of  diptych.  Signed :  Kiyonaga  ga.  About 
1785. 

An  oiran  standing  by  a  window  through  which  a  snow-clad  land¬ 
scape  appears;  and  a  young  man  writing  a  letter  while  a  maid  fans 
the  fire  in  a  hibachi. 

442.  THREE  WOMEN  ON  THE  BANK  OF  THE  SUMIDA 
RIVER. 

Oban.  Signed :  Kiyonaga  ga.  About  1785. 

443.  THREE  WOMEN  WALKING  ON  THE  BANK  OF 
THE  SUMIDA. 

Oban.  Signed :  Kiyonaga  ga.  About  1785. 

This  print  and  the  preceding  form  a  diptych,  but  it  is  probable 
that  there  should  be  a  third  sheet,  the  three  forming  a  triptych. 


—99— 


TORI!  KIYONAGA 


FIVE  PRINTS  FROM  THE  SERIES  “TOSEI  YURI 
BIJIN  AWASE.” 

Oban.  Signed :  Iviyonaga  ga.  About  1786. 


444.  TWO  WOMEN  CARRYING  AN  UMBRELLA  AND 
FOLLOWED  BY  A  MAID  SERVANT. 


445.  TWO  GEISHAS  AND  A  YOUNG  MN. 


446.  TWO  GEISHAS  STANDING  AND  ANOTHER  SEAT¬ 
ED  ON  A  SHOGI  WITH  A  WHITE  KITTEN  ASLEEP 
ON  HER  LAP. 


447.  A  MAN  SEATED  ON  A  BED  UNDER  A  MOSQUITO 
NET  CANOPY,  A  WOMAN  STANDING,  AND  AN¬ 
OTHER  KNEELING  AND  LIFTING  THE  NET 
WITH  HER  RIGHT  HAND. 


448.  GROUP  OF  MERRYMAKERS  UPON  A  BALCONY. 

Diptych. 


449.  WOMAN  IN  WINTER  COSTUME,  HER  HEAD 
COVERED  BY  A  BLACK  ZUKIN. 

Hashira-ye.  Signed:  Kiyonaga  ga.  About  1786. 


450.  MUSUME  IN  A  BLACK  ZUKIN  ON  A  BREEZY  DAY 
IN  SPRING. 

Hashira-ye.  Signed:  Kiyonaga  ga.  About  1786. 

This  is  one  of  Kiyonaga’s  masterpieces.  The  upright  form  serves 
to  accentuate  the  horizontal  movement  of  the  wind-blown  garments 
and  the  wistaria  flowers  waving  above.  The  drawing  of  the  black 
zukin  about  the  girl’s  head,  and  the  superb  brush  strokes  with  which 
the  whole  is  executed,  are  among  the  finest  things  in  all  Ukiyo-e. 


451.  MUSUME  UNDER  A  WILLOW  TREE  IN  A  GALE 
OF  WIND. 

Hashira-ye.  Signed :  Kiyonaga  ga.  About  1786. 

This  also  is  one  of  Kiyonaga’s  triumphs.  The  theme  is  virtually 
the  same  as  that  of  the  preceding  number,  but  the  rythm  is  different. 


—100- 


TORII  KIYONAGA 


452.  MATSUMOTO  KOSHIRO  AND  TWO  WOMEN 
LOOKING  AT  A  TEA  JAR. 

Oban.  Signed :  Kiyonaga  ga.  About  1786. 

453.  A  MAN  AND  TWO  WOMEN  IN  THE  SNOW  AT 
THE  ENTRANCE  TO  A  TEA-HOUSE. 

Oban.  Signed :  Kiyonaga  ga.  About  1786. 

454.  WOMEN  UPON  A  VERANDA  ADMIRING  THE  NEW 
FALLEN  SNOW. 

Oban.  Part  of  a  diptych  or  triptych.  Signed:  Kiyonaga  ga. 
About  1787. 

455.  GROUP  OF  WOMEN  BENEATH  THE  TORII  OF  A 
SHINTO  TEMPLE. 

Oban.  Signed :  Kiyonaga  ga.  About  1787. 

456.  GATHERING  SPRING  FLOWERS  NEAR  A  FARM 
HOUSE. 

Oban.  Signed :  Kiyonaga  ga.  Publisher :  Fushizen.  About  1787. 
457-  USHIWAKA  SERENADING  JORURI-HIME. 

Oban  triptych.  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About 
1788. 

The  story  of  the  little  Ojosan  Joruri-hime  is  a  pathetic  one.  When 
Yoshitsune — known  in  his  younger  days  as  Ushiwaka  (young  ox)  — 
escaped  from  the  custody  of  the  monks  of  Kurama-dera  and  fled  to 
the  North  to  join  Shigeyori  and  set  up  a  revolt  against  the  Taira, 
he  was  detained  for  some  days  at  the  village  of  Yahagi  near  Okazaki, 
and  stopped  at  the  house  of  the  soncho  (village  headman).  This 
soncho,  one  Kanetaka,  was  a  rich  man  of  the  class  known  as  goshi, 
and  had  a  granddaughter  Joruri-hime  (Pure-emerald  maid),  whose 
father  was  the  noble  lord  Chunagon  Fushimi  Moronaka.  The  mother 
having  died  when  the  girl  was  yet  a  child,  Joruri-hime  was  brought 
up  by  her  grandparents,  who  bestowed  every  care  upon  her  education. 
At  the  time  of  Ushiwaka’s  visit  to  Yahagi  she  was  fifteen  years  of  age 
and  “so  beautiful  and  graceful  that  the  moon  and  flowers  could 
hardly  vie  with  her  in  fascinating  the  human  heart.” 

It  happened  that  while  Ushiwaka  was  strolling  inKanetaka’s  garden 
he  heard  the  little  maid  singing  and  playing  upon  her  Tsukushi  harp 
(koto).  Ushiwaka  responded  by  strains  upon  his  flute  “so  sweet 


—101— 


TORII  KIYONAGA 


and  subduing  that  a  fish  would  rise  to  the  surface  of  the  water  and  a 
bird  flit  to  the  ground  to  enjoy  them.”  Catching  a  glimpse  of  the 
player  and  being  impressed  by  his  appearance  as  well  as  by  his  skill 
as  a  musician,  Joruri-hime  sent  her  maid  Reizei  to  inquire  who  the 
handsome  youth  could  be.  The  knowledge  of  his  exalted  rank  broke 
down  all  restraint.  Clandestine  meetings  followed  until  at  the  end 
of  ten  days  Shigeyori  appeared  and  Ushiwaka  rode  away  with  him 
to  raise  the  standard  of  the  Minamoto  and  begin  the  war  against  the 
hated  Taira.  Poor  little  Joruri-hime  is  said  to  have  felt  death  in  her 
soul  as  her  lover  rode  away.  And  death  it  was,  for  she  had  defied 
convention,  and  only  a  few  weeks  later  her  body  was  brought  home 
from  the  water  of  the  Yahagigawa,  into  which  she  had  thrown  herself. 

458.  A  PICNIC  UNDER  THE  BLOSSOMING  CHERRY 
TREES. 

Oban.  Right-hand  sheet  of  a  triptych.  Signed :  Kiyonaga  ga. 
About  1788. 

459-  WOMEN  AND  CHILDREN  CROSSING  A  STONE 
BRIDGE. 

Oban.  Signed :  Kiyonaga  ga.  About  1788. 

460.  GIRL  AND  TWO  WOMEN  AT  NIHON  BASHI,  SET¬ 
TING  FORTH  ON  A  PILGRIMAGE  TO  ENOSHIMA. 

Oban.  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About  1788. 

461.  WAYFARERS  SEEKING  SHELTER  FROM  A 

462.  SHOWER. 

Oban.  First  and  third  sheets  of  a  triptych.  Signed:  Kiyonaga  ga. 
About  1788. 

463.  NEW  YEAR’S  DAY  VIEW  OF  THE  EIJUDO  PRINT 
SHOP. 

Oban  Yokoye.  Signed:  Torii  Kiyonaga  ga.  About  1789. 
Nishimura  Yohachi,  whose  shop  name  was  Eijudo,  was  the 
leading  print  publisher  of  Edo  in  his  day.  Many  of  the  finest  prints 
were,  issued  by  him.  This  is  an  interesting  print,  though  the  New 
Year’s  decorations  obstruct  the  view  of  the  shop  front. 


TORII  KIYONAGA 


464.  WOMEN  ON  A  BALCONY  ACCOSTING  A  FAN- 
MOUNT  VENDOR  IN  THE  STREET  BELOW. 

Oban  vertical  diptych.  Signed:  Kiyonaga  ga.  About  1789. 

465.  WOMEN  LOOKING  AT  PICTURE  BOOKS. 

Koban.  Signed:  Kiyonaga  ga.  Publisher:  Tsuru-ya.  About 

466.  A  WOMAN  OUT  FOR  A  WALK  ATTENDED  BY 
TWO  MAIDS. 

Koban.  Signed :  Kiyonaga  ga.  About  1789. 

467.  WOMEN  AT  A  WAYSIDE  TEA  HOUSE  ON  THE 
BEACH  OPPOSITE  ENOSHIMA. 

Oban.  Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About  1790. 

468.  IMPRESSION  FROM  THE  KEY-BLOCK  OF  THE 
PRECEDING. 

469.  JOSAN  NO  MIYA,  HER  PET  KITTEN,  AND  A 
YOUNG  GIRL. 

Oban.  Signed :  Kiyonaga  ga.  About  1790. 

470.  COURT  LADIES  ON  A  VERANDA. 

Oban.  Signed:  Kiyonaga  ga.  About  1790. 

471.  an  impromptu  entertainment. 

Oban.  Left-hand  sheet  of  a  pentaptych.  Signed :  Kiyonaga  ga. 
Publisher:  Tsutaya.  About  1790. 

472.  BOYS  PLAYING  THE  GAME  OF  DRAWING  LOTS. 

Koban.  Signed :  Kiyonaga  ga.  Publisher :  Tsutava.  About  1790. 

473-  THE  DOLL’S  FESTIVAL.  CHILDREN  AT  PLAY 
ON  THE  THIRD  DAY  OF  THE  THIRD  MONTH. 
Oban.  Signed:  Kiyonaga  ga.  Publisher:  Tsutaya.  About  1790. 
This  print  is  one  of  a  set  of  five  for  the  Gosekku  or  five  festivals 
of  the  year. 


—103— 


KATSUKAWA  SHUNCHO 


KATSUKAWA  SHUNCHO 

This  artist,  who  was  known  familiarly  as  Kichizaemon,  was  a 
pupil  of  Katsukawa  Shunsho.  After  leaving  that  master’s  studio 
he  published  a  few  actor  prints  in  the  style  of  Shunsho.  Very  soon, 
however,  he  came  under  the  influence  of  Kiyonaga  and  imitated  his 
style  so  closely  that  were  it  not  for  the  signature  his  prints  might 
well  be  taken  for  the  work  of  the  Torii  leader.  Many  of  them  are 
extremely  fine  both  in  design  and  color,  but  they  are  weaker  than 
those  by  Kiyonaga,  and  more  uneven  in  merit.  The  dates  of  his 
birth  and  death  are  not  known. 

474.  THREE  WOMEN  VIEWING  THE  FAMOUS  BIG 
PINE  KNOWN  AS  “EKO  MATSU.” 

Oban.  Signed:  Shuncho  ga.  Publisher:  Eijudo.  About  1784. 

475.  THREE  WOMEN  AND  A  YOUNG  GIRL  OUT  FOR 
A  WALK  IN  SUMMER. 

Oban.  Signed:  Shuncho  ga.  Publisher:  Eijudo.  About  1784. 

THREE  PRINTS  FORMING  THE  SERIES  “UKIYO 
SETSU-GETSU-KA”  ( SNOW-MOON-FLOWER) . 

Oban.  Signed:  Shunchd  ga.  Publisher:  Shoeido.  About  1785. 

476.  SNOW. 

A  man  and  three  women  grouped  about  a  hibachi.  Through  the 
open  shoji  falling  snow  is  seen. 

477.  MOON. 

Three  geishas  standing  on  a  bridge. 

478.  FLOWER. 

Two  women  and  a  young  man  on  Asuka  hill  in  the  time  of  the 
cherry  blossoming. 

479.  TANABATA  (SEVENTH  DAY  OF  THE  SEVENTH 
MONTH). 

Chuban.  Signed:  Shuncho  ga.  Series:  Gosekku  yu.  (Amuse¬ 
ments  on  the  five  festival  days.)  About  1787. 

A  woman  seated  on  a  bench  and  two  women  standing. 


—104— 


KATSUKAWA  SHUNCHO 


480.  YOUNG  MAN  IN  TRAVELLING  COSTUME  PAUS¬ 
ING  TO  SPEAK  TO  TWO  GIRLS  RESTING  AT  A 
YOSHIZU  (WAYSIDE  BOOTH)  CHAYA. 

Chuban.  Signed :  Shunchd  ga.  Publisher :  Izumi-ya.  Aobut  1787. 

481.  THREE  WOMEN  ADMIRING  HAGI  BLOSSOMS. 

Chuban.  Series:  Shu  Ku  Awase  Shiki  no  Hana  (Comparison  of 
splendid  Odes  of  the  Four  Seasons).  Signed:  Shuncho  ga. 

482.  PLEASURE  BOATS  AT  A  LANDING. 

Oban  triptych.  Signed :  Shuncho  ga.  Publisher :  Tsuru-ya.  About 

1788. 

483.  WOMEN  BOARDING  A  PLEASURE  BOAT. 

Oban  diptych.  Signed :  Shuncho  ga.  About  1788. 

484.  STREET  PARADE  IN  THE  YOSHIWARA. 

Oban  triptych.  Signed :  Shuncho  ga.  Publisher :  Izumi-ya.  About 

1789. 

485.  WOMEN  WALKING  IN  THE  ENVIRONS  OF  EDO 
IN  SUMMER. 

Oban.  Signed :  Shunchd  ga.  About  1790. 

486.  WOMEN  AND  MAN  SERVANT  ON  THE  BANK  OF 
THE  SUMIDA  RIVER. 

Oban.  Signed:  Shunchd  ga.  Publisher:  Eijudo.  About  1790. 


KATSUKAWA  SHUNSHO 

One  of  the  greatest  of  the  Ukiyo-e  artists  was  Katsukawa  Shunsho. 
During  the  Meiwa  period  his  prints  form  a  parallel  series  to  those  of 
Harunobu,  though  in  a  different  field.  While  they  clearly  show 
the  influence  of  Harunobu,  it  is  evident  that  this  influence  only  served 
to  develop  Shunsho’s  power.  He  was  a  master  of  strong,  virile,  and 
always  rythmic  draughtsmanship,  and  was  also  a  colorist  of  the  very 
first  rank.  Of  his  life  few  details  are  known.  His  personal  name 
was  Yusuke,  and  he  was  a  pupil  of  the  painter  Katsu  Miyagawa  Shun- 
sui.  At  first  he  called  himself  Katsu  Miyagawa  Shunsho,  but,  follow¬ 
ing  the  example  of  his  master,  he  combined  the  first  two  names  and 


—105— 


KATSUKAWA  SHUNSHO 

shortened  them  to  Katsukawa.  In  early  life  he  was  very  poor  and 
lived  in  the  house  of  the  publisher  Hayashi  Hichiemon  at  Ningyo-cho, 
Edo.  His  prints  prior  to  1765  are  not  very  good  and  could  hardly 
have  given  promise  of  the  splendid  work  that  came  from  his  hand 
only  a  little  later.  When  the  new  style  of  nishiki-ye  prints  came  in, 
he  perceived  an  opening  for  his  talent  in  making  portraits  of  actors 
in  the  novel  manner.  His  first  efforts  in  this  style  had  a  compelling 
quality  that  brought  instant  recognition  and  he  very  soon  became  fa¬ 
mous.  For  about  fifteen  years  he  continued  to  produce  actor  prints  in 
large  numbers,  and  also  illustrated  a  number  of  books  in  collaboration 
with  Shigemasa  and  Ippitsusai  Buncho.  His  works  have  hardly  been 
appreciated  yet  as  they  deserve.  The  best  of  them  yield  a  pure  aesthetic 
joy  that  is  as  rare  as  it  is  precious.  In  his  later  years  Shunsho  devoted 
himself  to  painting  and  designed  only  an  occasional  print.  He  died 
on  the  nth  day  of  the  12th  month  of  Kansei  4  (January  22,  1793) 
and  was  buried  at  Saifukuji  Temple,  Asakusa.  Shunsho  often  used 
a  seal  shaped  like  a  jar,  upon  which  was  inscribed  the  ideograph, 
“Hayashi.”  For  this  he  obtained  the  nickname  Tsubo  (jar). 

487.  AN  OIRAN. 

Wide  hashira-ye.  Signed :  Shunsho  ga.  About  1780. 

488.  VERY  TALL  OIRAN. 

Wide  hashira-ye.  Signed :  Shunsho  ga.  About  1780. 


KITAO  SHIGEMASA 

Kitao  Sasuke,  known  as  Shigemasa,  was  born  in  Edo  in  1739  and 
is  said  to  have  begun  his  career  as  an  employee  in  the  shop  of  Suwaraya 
Mohei,  the  leading  bookseller  and  publisher  (not,  however,  of  Ukiyo-e 
works)  in  Japan.  For  a  short  time  before  the  death  of  Shigenaga  in 
1756,  he  was  a  pupil  in  his  studio;  and  at  the  age  of  twenty  he  began 
to  design  actor  prints  which  in  some  respects  were  an  advance  upon 
any  similar  works  by  the  older  artists.  Establishing  himself  at  Odenma 
cho  Nichome,  he  soon  was  in  great  demand  as  a  calligrapher,  being 
reputed  unequalled  by  any  one  in  his  time  in  either  Edo,  Osaka,  or 
Kyoto.  Much  of  his  time  was  given  to  book  illustration.  He  made 
designs  for  at  least  twenty-seven  works.  One  of  these,  the  “Seiro 
Bijin  Awase  Kagami”  which  he  illustrated  in  collaboration  with 
Katsukawa  Shunsho,  is  generally  considered  the  most  beautiful  book 


—106— 


KITAO  SHIGEMASA 


produced  in  Japan.  The  prints  designed  by  him  were  comparatively 
few,  but  of  distinguished  quality.  After  about  1772  he  seldom  signed 
them,  deeming  his  dignified  style  and  superb  brush  strokes  so  inimi¬ 
table  that  no  signature  was  needed.  The  exceptions  are  the  surimono 
which  he  usually  signed  with  the  go  Kosuisai.  In  his  later  days  he 
resided  at  Otsukamura,  Negishi,  then  a  suburb  of  Edo.  He  died  in 
1819. 

489.  ICHIMURA  UZAEMON  IN  THE  ROLE  OF  NAGOYA 
SANZA. 

Hosoe.  Beni,  yellow,  and  green.  Signed :  Kitao  Shigemasa  ga. 
Publisher :  mark  not  identified.  About  1760. 

490.  YAMASHITA  KISAKU  AS  ONO  NO  KOMACHI. 

Hosoe.  Pale  beni,  deep  beni,  and  pale  blue.  Not  signed.  About 
1764. 

491.  WOMEN  ARRANGING  FLOWERS. 

Chuban.  Signed:  Shigemasa  ga.  About  1769. 

492.  THE  POET  NARIHIRA  AND  ATTENDANTS  CROSS¬ 
ING  THE  SNOW-COVERED  BRIDGE  IN  SANO. 
Koban.  Signed :  Shigemasa  ga.  About  1770. 

493.  A  FLIRTATION  IN  AN  ARCHERY  GALLERY. 

Koban.  Not  signed.  About  1772. 

494-  GROUP  AT  THE  BACK  DOOR  OF  A  TEA-HOUSE. 

Chuban.  Series:  Toei  Fumoto  Hakkei.  Not  signed.  About  1774. 

495.  THE  MOMIJI-URI  ODORI  (MAPLE  LEAVES  SELL¬ 
ER  DANCE). 

Chuban.  Series:  Enshi  Odori  Fuzoku.  Not  signed.  About  1775. 

496.  THE  MIYAKODORI  ODORI  (SEA  GULL  DANCE). 

Chuban.  Same  series  as  the  preceding. 

497-  DOLL  DRESSED  AS  A  TSUZUMI  PLAYER. 

Oban.  Not  signed. 

One  of  a  set  of  five  figures  known  as  “Gonen  Bayashi.” 


—107- 


KITAO  SHIGEMASA 


498.  TWO  GEISHAS  IN  THIN  SUMMER  CLOTHES. 

Oban.  Not  signed.  1776. 

This  print  bears  an  inscription  probably  contemporary,  indicating 
the  year  1776  as  its  date.  It  is  stated  that  the  transparent  fabric  worn 
by  the  girl  who  is  standing  was  first  depicted  in  color  prints  in  the 
year  Anyei  5  (1776). 


499-  TWO  GEISHAS  STANDING;  ONE  HOLDING  A 
SAMISEN,  THE  OTHER  READING  TO  HER  FROM 
A  BOOK. 

Oban.  Not  signed.  Probably  1776. 

This  is  perhaps  Shigemasa’s  masterpiece.  In  it  he  reaches  the  height 
of  his  power.  Note  how  the  patterns  on  the  draperies  supplement  the 
rhythm  of  the  black  outlines. 


KITAO  MASANOBU 

Iwase  Haida,  known  to  fame  as  the  artist  Kitao  Masanobu  and 
as  the  novelist  Kyoden,  was  born  in  Kiba,  Fukagawa,  Edo,  at  the 
house  of  the  publisher  whose  shop  name  was  Ise-ya,  on  the  1 8th  day 
of  the  1 8th  month  of  Horeki  II  (1761).  In  early  life  he  called  him¬ 
self  Kyoya  Denzo  and  kept  a  shop  in  Kyobushi  Ginza,  Nichome, 
where  he  sold  tobacco,  pipes,  and  medicines.  He  was  a  pupil  of  Kitao 
Shigemasa.  His  prints,  though  few  in  number,  are  of  great  distinc¬ 
tion.  All,  or  nearly  all  of  them  were  done  when  he  was  quite  young. 
Without  doubt  his  reputation  as  an  artist,  though  deservedly  high, 
would  be  much  wider  had  he  not  given  up  painting  and  print  designing 
after  he  reached  hs  thirtieth  year,  and  thenceforth  devoted  his  energies 
chiefly  to  literary  work.  He  is  celebrated  not  only  for  his  novels,  but 
also  for  his  poems  and  in  particular  for  the  comic  odes  he  wrote  under 
the  pseudonym  of  Magaru-  no-  Orisuke.  He  died  on  the  7th  day  of 
the  9th  month  of  Bunka  13  (1816)  and  was  buried  in  Ekoin  Temple, 
Ryogoku,  Edo. 


500.  THE  OIRAN  HITOMOTO  OF  DAIMONJI-YA  AND 
HER  ATTENDANT  SHINZO  AND  KAMURO. 

Oban.  From  the  album  “Seiro  Meikun  Jihitsu  Shu.”  1783. 


—108— 


KITAO  MASANOBU 

501.  THE  GEISHA  YAMASHITA  HANA  AND  HER  TWO 
ASSISTANTS. 

Oban.  Series:  Tosei  Bijin  Iro  Kissi.  Signed:  Kitao  Masanobu 
ga.  About  1783. 

.  The  Principal  figure,  Yamashita  Hana,  wears  a  thin  black  kimono 
with  a  green  obi,  and  is  playing  with  a  kitten.  Her  hair  is  in  the  new 
style  of  Temmei  san  (1783).  Her  companions  still  have  the  old 
style  of  coiffure  in  which  the  ends  of  the  bamboo  splint  project  slightly 
beyond  the  wings.  The  new  style  does  not  appear  to  have  been  gener- 
ally  adopted  until  some  years  later. 


KUBO  SHUNMAN 

This  artist,  whose  personal  name  was  Kubota  Yasubei,  was  at 
first  the  pupil  of  an  obscure  painter  named  Kajitori  Nahiko,  but  later 
entered  the  studio  of  Shigemasa.  Like  all  the  artists  of  his  time  he 
came  somewhat  under  the  influence  of  Kiyonaga,  but  he  was  too  strong 
a  man  to  follow  any  one’s  lead  without  variation,  and  he  soon  devel¬ 
oped  a  style  of  his  own.  His  prints  have  marked  individuality,  espe¬ 
cially  in  their  color  schemes.  By  the  Japanese  his  works  are  greatly 
admired  for  their  esoteric  quality.  Most  of  his  later  prints  are 
surimono.  Like  many  of  the  Ukiyo-e  artists  he  was  also  an  author 
of  note.  His  comic  poems,  which  gained  him  much  renown,  were 
signed  Nandaka  Shiran,  a  name  having  the  similitude  of  that  of  a 
Buddhist  sage,  but  when  written  in  the  Japanese  kana,  signifying  “I 
don  t  know  what  it  is.  ’  He  painted  with  his  left  hand  and  because 
of  this  he  frequently  signed  himself  Shosado.  He  was  born  in  1757 
and  died  in  1820. 

502.  GROUP  OUTSIDE  A  DWELLING  AT  NIGHT. 

Oban.  Right-hand  sheet  of  triptych.  Signed :  Kubo  Shunman  ga. 
Publisher:  Fushizen. 

503.  WOMEN  FORDING  THE  IDE  NO  TAMAGAWA. 

Oban.  Right-hand  sheet  of  the  six-sheet  composition  “The  Six 
Tama  Rivers/’  Signed:  Shunman.  Publisher:  Fushizen. 

504.  TWO  SHIOKUMI  (SALT-WATER  CARRIERS)  REST¬ 
ING  UNDER  A  MAPLE  TREE  ON  THE  SEA  SHORE. 

Yokoye  Surimono.  Signed :  Shosado  Kubo  Shunman  ga. 


— 10£— 


KUBO  SHUNMAN 


505.  WOMAN  CARRYING  REFRESHMENTS  TO  A 
GROUP  OF  WORKERS  IN  A  RICE  FIELD. 

Yokoye  surimono.  Signed:  Shunman. 


HOSODA  EISHI 

7  heoretically,  at  least,  the  life  of  the  samurai  was  one  of  extreme 
frugality  and  almost  ascetic  self-denial.  Under  the  peaceful  Toku- 
gawa  rule,  however,  the  rigor  of  the  discipline  was  so  much  relaxed 
that  it  was  not  uncommon  for  men  of  the  two-sworded  class  to  adopt 
the  freer  life  and  share  in  the  amusements  and  dissipation  of  the  com¬ 
mon  people.  Among  those  yielding  to  these  allurements  was  the  artist 
Hosoda  Jibukyo  Fujiwara  no  Tokitomi,  known  to  us  by  the  brush 
name  of  Eishi  (commonly  written  Yeishi,  although  the  Y  should  not 
be  sounded).  This  name  was  given  him  by  the  Shogun  Iyeharu  in 
whose  household  he  held  an  official  post  for  three  years  after  he  left 
the  studio  of  Kano  Eisen  where  he  received  his  education  as  a  painter. 
It  is  said  that  he  left  this  post  on  account  of  ill  health,  but  whatever 
the  reason,  he  was  in  some  way  attracted  by  the  work  of  the  Ukiyo-e 
masters,  and  especially  it  is  said,  by  that  of  Okumura  Masanobu.  In 
honor  of  Masanobu  and  of  the  Torii  school  he  then  adopted  Cho- 
bunsai  as  one  of  his  artist  names,  Cho  being  the  other  pronunciation 
of  the  ideograph  Tori,  Bun  being  a  part  of  one  of  Masanobu’s  appella¬ 
tions,  and  Sai  (studio)  signifying  by  connotation  a  follower.  He  lived 
at  Hama-cho  near  Nihon  bashi  and  afterward  at  Honjo  Warigesui, 
Edo.  Many  of  the  finest  prints  issued  during  the  culminating  period 
in  the  history  of  the  art  are  from  his  hand,  and  are  marvels  of  clever 
design  and  skillful  engraving  and  printing.  He  died  in  1829  at  an 
advanced  age. 

506.  VIEWING  THE  CHERRY  BLOSSOMS  AT  ASUKA 
HILL. 

Oban  diptych,  one  sheet  an  ink  impression  from  the  key-block. 

Signed:  Chobun.  Publisher:  Eijudo.  About  1787. 

The  ingenious  way  in  which  the  cherry  blossoms  were  indicated 
in  the  drawing  is  worth  noting.  After  the  color  blocks  had  been  made 
the  black  outlines  were  cut  from  the  key  block.  The  same  method 
is  shown  even  more  clearly  in  the  following  number  where  an  im¬ 
pression  from  the  key-block  and  one  in  full  color  are  shown  side  by 
side. 


—110— 


*■* 


-r  ■»«mii|  yiw*  iiifiy1 


SHUNCHO 

No.  477.  Three  geishas  on  a  bridge 


SHIGEMASA 

The  Maple-leaves-seller  dance 


No.  495. 


HOSODA  EISHI 


507.  WOMEN  AT  A  TEA  BOOTH  ON  ASUKA  HILL  IN 
THE  TIME  OF  THE  CHERRY  BLOSSOMING. 

Oban.  Ink  print  from  the  key-block  and  the  finished  print.  Signed: 
Eishi  ga.  Publisher:  Eijudo.  About  1787. 

508.  GROUP  AT  A  TEA  BOOTH  OVERLOOKING  THE 
SANDS  AT  SHINAGAWA  IN  THE  TIME  OF  THE 
CHERRY  BLOSSOMING. 

Oban  triptych.  Signed :  Eishi  ga.  About  1787. 

509.  WOMEN  FISHING  WITH  HOOK  AND  LINE  AT  A 
BOAT  LANDING. 

Oban.  Signed :  Eishi  ga.  Publisher :  Izumi-ya.  About  1788. 

510.  WOMEN  AND  BOY  VIEWING  THE  CHERRY  BLOS¬ 
SOMS  IN  THE  GROUNDS  OF  KIYOMIZU  TEMPLE, 
KYOTO. 

Oban.  Signed:  Eishi  ga.  Publisher:  Izumi-ya.  About  1788. 

51 1.  THE  OIRAN  NANAMACHI  OF  YOTSUMI-YA  WITH 
HER  KAMURO  AND  A  SHINZO  NEAR  A  STAND  OF 
FIRE  BUCKETS  UNDER  A  CHERRY  TREE. 

Oban.  Signed:  Eishi  ga.  Publisher:  Eijudo.  About  1788. 

512.  THE  OIRAN  KOMURASAKI  OF  KADOTAMA-YA 
AND  ATTENDANTS. 

Oban.  Signed :  Eishi  ga.  About  1788. 


THREE  TRIPTYCHS  OF  THE  “FURYU  YATSUSHI 
GENJI”  SERIES. 

Oban  triptychs.  Signed :  Eishi  ga.  Publisher :  Izumi-ya.  About 
1790. 

These  triptychs  which  are  among  Eishi’s  finest  works  depict  mod¬ 
ernized  versions  of  supposed  incidents  in  the  life  of  Prince  Genji,  the 
hero  of  the  classic  romance  “Genji  Monogatari.” 


513-  A  MORNING  GLORY  FETE. 

Prince  Genji  preparing  to  compose  an  ode  about  the  flower  lying 
before  him :  women  are  grouped  about  him  in  various  attitudes. 


—111— 


HOSODA  EISHI 


514-  MATSUKAZE  (WIND  IN  THE  PINES). 

In  a  room  in  the  corner  of  a  nobleman’s  mansion  a  lady  is  playing 
a  koto;  a  group  of  women  are  about  her  and  one  in  a  black  kimono 
and  bearing  a  hand  lantern  goes  to  meet  Prince  Genji  who  is  advanc¬ 
ing  attended  by  two  women  and  a  girl. 

515.  AN  OLD-TIME  FETE. 

Prince  Genji  is  seated  under  a  maple  tree,  a  blue  and  white  striped 
wind  screen  hung  up  behind  him.  He  is  listening  to  the  music  of  a 
tsuri-daiko  (a  large  drum  on  a  stand),  a  tsuzumi  (a  smaller  drum), 
and  a  sho  (an  instrument  resembling  pan  pipes,  which  was  used  in 
the  Fujiwara  period),  played  by  three  women. 


516.  A  LADY  AND  A  NUMBER  OF  ATTENDANT  WOM¬ 
EN  CATCHING  SINGING  INSECTS. 

Oban  triptych.  Signed:  Eishi  ga.  Publisher:  Eijudo.  About 
1790. 

517-  THE  TAYU  MI-I-ZAN  OF  SHOJI-YA  IN  NIGHT  COS¬ 
TUME. 

Oban.  Series :  Seiro  Bisen  Awase.  Signed :  Eishi  gi  ga.  Pub¬ 
lisher:  Iwato-ya.  About  1794. 

518.  THE  TAYU  ITANA  MURASAKI  OF  TAMA-YA. 

Oban.  Series :  Seiro  Bisen  Awase.  Signed :  Eishi  gi  ga.  Pub¬ 
lisher  :  Iwato-ya.  About  1794. 

It  is  not  easy  to  understand  why  Eishi  should  have  signed  this  and 
the  preceding  number  “gi  ga”  or  joke  pictures.  In  them  almost  the 
last  word  in  the  art  of  color  printing  would  seem  to  have  been  uttered. 
Instead  of  the  chocolate  ground  covered  with  a  thin  film  of  silver  as  in 
these  prints,  impressions  were  also  made  with  grounds  of  silver  over 
pale  yellow.  They  were  issued  about  the  time  when  Sharaku’s  re¬ 
markable  actor  portraits  were  appearing  and  Utamaro  was  at  the 
height  of  his  power. 

519-  LANTERN  FESTIVAL  UNDER  A  WISTARIA  ARBOR. 

Oban  triptych.  Signed:  Eishi  zu.  Publisher:  Eijudo.  About 
1796. 

In  the  centre  a  young  man  with  a  fan  tied  upon  his  head  is  dancing, 
while  in  a  circle  about  him  are  eight  women,  some  seated  and  others 


—112— 


HOSODA  EISHI 


standing.  Two  are  playing  the  samisen,  others  are  clapping  hands, 
while  two  have  hold  of  the  ends  of  a  rope  having  a  large  loop  in  the 
middle.  The  dance  is  mimetic.  The  dancer  represents  a  fox  disguised 
as  a  man.  By  the  loop  in  the  rope  is  an  inro  (medicine  case)  on  a 
sheet  of  paper.  This  represents  the  bait  to  catch  the  fox.  The  dancer’s 
aim  is  by  a  rapid  movement  to  grab  the  inro  without  being  caught 
by  the  rope. 


TORIYAMA  SEKIYEN 

Toriyama  Sekiyen  was  the  “go”  or  studio  name  of  Sano  Toyofusa, 
a  pupil  of  Kano  Chikanobu.  At  first  he  painted  in  the  Kano  manner, 
but  afterward  evolved  a  style  of  his  own  which  was  in  some  sort  a 
combination  of  Kano  and  Ukiyo-e.  He  is  not  known  to  have  designed 
any  prints  but  he  published  a  few  picture  books.  He  died  in  1788. 

520.  RAT  AND  DAIKON. 

Yokoye.  Double  page  from  a  picture  book. 


KITAGAWA  UTAMARO 

The  celebrated  artist  known  as  Utamaro  was  a  son  of  Toriyama 
Sekiyen.  The  young  man  whose  personal  name  was  Yusuke,  studied 
under  his  father  and  for  a  time  used  the  signature  Toriyama  Toyoaki. 
Following  a  quarrel  with  his  father  who  was  vexed  by  his  dissolute 
ways,  he  declared  he  would  no  longer  disgrace  the  family  name, 
adopted  that  of  Kitagawa,  took  the  “go”  of  Utamaro,  and  is  said  to 
have  made  his  home  for  a  time  with  the  publisher  Juzaburo  whose 
shop  was  known  as  Tsuta-ya.  After  a  few  early  efforts  in  an  un¬ 
formed  and  rather  nondescript  style,  like  all  the  Ukiyoe  artists  of  the 
time,  he  imitated  Kiyonaga,  and  for  several  years  worked  in  his  style. 
Gradually  however,  he  evolved  the  characteristic  style  which  has 
gained  him  world-wide  fame.  Though  his  life  is  said  to  have  been 
an  irregular  one,  he  managed,  nevertheless,  to  produce  an  immense 
volume  of  work  of  exceptional  quality.  He  had  a  fertile  brush  and 
his  compositions  are  among  the  most  striking  and  original  works  of 
the  school.  In  his  day  he  was  very  popular  and  had  many  imitators. 
This  popularity  continued  after  his  death  and  led  to  the  publication 
of  many  prints  by  other  artists  to  which  the  signature  Utamaro  was 


—113— 


KITAGAWA  UTAMARO 


appended.  In  1804  he  designed  a  print  which  the  Bafuku  officials 
took  to  be  a  reflection  upon  the  conduct  of  the  Shogun  Iyenari,  and 
in  consequence  Utamaro  was  imprisoned  for  fifty  days  with  his  hands 
tied.  After  his  release  he  was  overwhelmed  with  commissions,  but 
his  health  had  given  way  during  his  confinement,  a  break  down  fol¬ 
lowed,  and  he  died  on  the  third  day  of  the  fifth  month  of  1806  at  thd 
age  of  fifty-three. 


521.  SATO  TADANOBU  RESISTING  ARREST. 

Hosoe.  Signed :  Toyoaki  ga. 

This  extremely  rare  print  is  one  of  Utamaro’s  very  earliest.  The 
subject  is  Sato  1  adanobu,  one  of  the  chief  retainers  of  Yoshitsune, 
slaying  with  a  heavy  go  table  (used  for  playing  the  game  of  go)  a 
soldier  sent  to  capture  him  when  his  mistress  had  betrayed  him  to 
Yoritomo. 

522.  THE  GEISHA  OCHIYE  OF  MATSU-YA  SETTING 
FORTH  TO  TAKE  PART  IN  A  NIWAKA. 

Oban.  Signed :  Utamaro.  About  1778. 

523.  WOMEN  AT  A  GARDEN  PARTY. 

Oban :  One  sheet  of  a  diptych  or  triptych.  Signed :  Utamaro  ga. 
About  1780. 

The  influence  of  Shigemasa’s  style  is  apparent. 

524.  TWO  WOMEN  AND  A  GIRL  AT  A  BOAT  LANDING. 

Oban :  Left-hand  sheet  of  a  diptych.  Signed :  Utamaro  ga.  About 
1780. 

525.  WASHING  DAY. 

Oban  diptych  (two  sheets  of  a  triptych).  Signed:  Utamaro  ga. 
Publisher :  Iwato-ya.  About  1788. 

526.  THE  AWABI  SHELL  DIVERS  OF  ISE. 

Oban.  Left-hand  sheet  of  triptych.  Signed :  Utamaro,  hitsu. 

527.  A  PALACE  IN  THE  RYUKYU  ISLANDS. 

Oban  triptych.  Signed:  Utamaro  ga.  Publisher:  Tsuta-ya.  About 
1790. 

This  is  a  fanciful  composition,  the  costumes  and  other  details 
being  a  conglomeration  of  Chinese  and  Japanese  styles. 


114— 


KITAGAWA  UTAMARO 


528.  GOMPACHI  AND  KOMURASAKI. 

Oban.  Signed:  Kojin  (the  late)  Suzuki  Harunobu  ga.  Kitagawa 
Utamaro  utsusu  (copied).  Publisher:  Morita-ya  Jirobei. 

This  print  is  interesting  because,  though  Utamaro  declares  it  to 
be  a  copy  of  a  design  by  Harunobu,  the  coiffures  and  other  details 
are  in  the  fashion  of  more  than  twenty  years  after  Harunobu’s  death. 


529.  HANA  MURASAKI  READING  A  BOOK. 

Oban.  Series:  Seiro  Setsu-Getsu-Ka.  Signed:  Utamaro,  hitsu. 
Publisher:  Murata-ya.  About  1794. 

The  book  is  a  ponderous  work  in  thirty  volumes.  Hana  Murasaki 
is  looking  at  one  volume  and  the  other  twenty-nine  are  held  by  a 
woman  standing  at  her  side. 

530.  THE  HOUR  OF  THE  SNAKE  (SEVEN  TO  NINE 
O’CLOCK  A.  M.) 

Oban.  Series:  Seiro  Ju-ni  toki  Tsuzuki  (The  twelve  hours  of  the 
day  in  the  Green  Houses).  About  1794. 

531-  A  KAGURA  DANCER  AND  A  FLUTE  PLAYER. 

Oban.  Series:  Fuzoku  Bijin  Tokei.  Signed:  Utamaro,  hitsu. 
Publisher :  Izumi-ya.  About  1794. 

532.  PROCESSION  OF  THE  KOREAN  AMBASSADOR 
BURLESQUED  BY  THE  WOMEN  OF  THE  YOSHI- 
WARA. 

Oban  heptatych.  Signed:  Utamaro,  hitsu.  Publisher:  Yama- 
guchi-ya  Tobei.  About  1794. 

The  niwaka  or  festival  processions  in  the  streets  of  the  Yoshiwara 
were  often  very  elaborate  affairs,  large  sums,  contributed  by  the 
frequenters  of  the  district,  being  spent  upon  the  costumes  and  acces¬ 
sories.  The  niwaka  in  which  the  procession  of  the  Korean  ambassador 
and  his  suite  was  burlesqued  was  especially  noteworthy  and  was  long 
remembered  for  its  unusual  character  and  extravagance. 

533.  HEAD  AND  BUST  OF  HINAZU  OF  HEIZETSURO- 
YA. 

Oban.  Series:  Bijin  Kiryo  Kurabi.  Signed:  Utamaro,  hitsu. 
Publisher:  Takasu.  About  1794. 


534-  THE  OIRAN  WAKA-UME  OF  TAMA-YA. 

Oban.  Signed :  Utamaro,  hitsu.  Publisher :  Tsuta-ya.  About  1794. 


—115— 


KITAGAAVA  UTAMARO 


535-  OKITA  THE  POPULAR  WAITRESS  OF  THE  NANI- 
WA-YA  TEA-HOUSE,  CARRYING  A  BOWL  OF  TEA 
ON  A  LACQUER  TRAY. 

Oban.  Signed:  Utamaro,  hitsu.  Publisher:  Tsuta-ya.  About  1794. 

536.  HALF-LENGTH  PORTRAIT  OF  OHISA  THE  POP¬ 
ULAR  WAITRESS  OF  THE  TAKASHIMA-YA  TEA¬ 
HOUSE. 

Oban.  Signed:  Utamaro,  hitsu.  Publisher:  Tsuta-ya.  About  1794. 

537.  THREE  NIWAKA  PERFORMERS. 

Oban.  Series:  Seiro  Niwaka  Onnageisha  no  bu.  Signed:  Utamaro 
ga.  Publisher:  Tsuta-ya.  About  1794. 

538.  THREE  NIWAKA  PERFORMERS. 

Same  series  as  the  preceding. 

539.  “SEIRO  SAN  BIJIN.” 

Oban.  Signed:  Utamaro,  hitsu.  Publisher:  Tsuta-ya.  About 
1794. 

540.  THE  TENDER-HEARTED  GIRL. 

Oban.  Series:  Fujin  Sogaku  Jittai  (Ten  physiognomies  of  wom¬ 
en).  Signed:  Soken  (physiognomist)  Utamaro.  About  1794. 
Inscription:  “This  style  is  gentle  and  tender-hearted  as  a  willow 
tree  in  the  wind  or  as  dock  weed  floating  upon  water.” 

541.  the  kitchen. 

Oban  diptych.  Signed:  Utamaro,  hitsu.  Publisher:  Kamimura. 
About  1795. 

542.  THE  OIRAN  TAKIGAWA  SEATED  AND  BENDING 
OVER  TO  READ  A  LETTER. 

Oban.  Series:  Torii  Zensei  Bijin  Soroi.  Signed:  Utamaro,  hitsu. 
Publisher :  Wakasa-ya.  About  1796. 

543-  THREE  WOMEN  UNDER  A  WISTARIA  ARBOR. 

Oban.  Signed :  Utamaro,  hitsu.  Publisher :  Tsutaya.  About  1796. 
Beautiful  though  this  print  undoubtedly  is,  in  the  use  of  brown 
flock  to  represent  in  a  realistic  manner  the  texture  of  the  rug  thrown 
over  the  bench  upon  which  one  of  the  women  is  seated,  it  shows  a 
leaning  toward  novelty  for  its  own  sake  that  is  significant  of  decadence. 


— 11&— 


KITAGAWA  UTAMARO 


544.  WOMAN  LOOKING  AT  THE  REFLECTION  OF  HER 
FACE  IN  A  MIRROR. 

Oban.  Signed:  Utamaro,  hitsu.  Publisher:  Yamamatsu.  Dated: 

1797. 

At  the  top  of  the  print  is  a  square  cartouche  showing  a  boy  dancing, 
a  sake  bottle,  some  blazing  fagots,  and  a  huge  snake.  Other  small 
objects  are  introduced,  the  whole  forming  a  conundrum  or  puzzle 
picture.  What  is  of  especial  interest  is  that  the  projecting  tongue  of 
the  snake  forms  the  character  “ku”  (nine),  thus  indicating  the  snake 
year,  Kansei  nine  (1797). 


TWELVE  PRINTS  FORMING  THE  SERIES  “JOSHO- 
KU  KAISHO  TEWAZAGUSA”  (WOMAN’S  WORK  IN 
SILKWORM  CULTURE). 

Oban.  Signed:  Utamaro,  hitsu.  Publisher:  Tsuru-ya  Kiyeimon. 
About  1797. 

These  prints  are  so  designed  that  by  joining  them  together  they 
can  be  made  to  form  one  picture. 


545.  BRUSHING  THE  NEWLY  HATCHED  WORMS 
INTO  TRAYS. 

546.  WOMEN  GATHERING  MULBERRY  LEAVES. 

547.  CUTTING  MULBERRY  LEAVES  AND  FEEDING 
THE  YOUNG  SILKWORMS. 

548.  SEPARATING  THE  GROWING  WORMS,  AND  PUT¬ 
TING  FEWER  IN  A  TRAY. 

549.  FEEDING  THE  WORMS  WITH  UNCUT  LEAVES. 

550.  ARRANGING  COCOONS  UPON  TRAYS. 

551.  WATCHING  THE  BUTTERFLIES  LAY  EGGS. 

552.  WATCHING  THE  BUTTERFLIES  FLY  ABOUT. 

553.  BOILING  COCOONS  AND  REELING  THE  SILK. 


—117— 


KITAGAWA  UTAMARO 


554-  WASHING  AND  DRYING  THE  RAW  SILK. 

555-  SPINNING  THE  YARN. 

556.  WEAVING  THE  SILK. 


557-  THE  LOVERS  MUMEGAWA  AND  CHUBEI. 

Oban.  Series  :  Jitsu  Kurabe  Iro  no  Murakame.  Signed :  Utamaro, 
hitsu.  Publisher:  Nishimura-ya.  About  1797. 

55S.  THE  SUZUHAKI,  OR  HOUSE-CLEANING  BEFORE 
NEW  YEAR’S  DAY. 

Oban  triptych  (part  of  pentaptych).  Signed:  Utamaro,  hitsu.  Pub¬ 
lisher:  Yamada-ya.  About  1797. 


559-  PLEASURE  BOATS  UNDER  RYOGOKU  BRIDGE. 

Oban  triptych.  Signed:  Utamaro,  hitsu.  Publisher:  Omi-ya. 
About  1798.  * 

This  triptych  is  the  lower  half  of  a  six-sheet  composition.  The 
upper  half  shows  a  group  of  women  on  the  bridge  looking  down  over 
the  rail. 


560.  LARGE  HEAD  AND  BUST  OF  A  WOMAN  HOLDING 
A  TRANSPARENT  COMB. 

Oban.  Signed:  Utamaro  hitsu.  Publisher:  Omi-ya.  About  1798. 


561.  SAYONARA. 

Oban.  Signed :  Utamaro,  hitsu. 


562.  WOMAN  SEATED  ON  A  VERANDA. 

Oban.  Signed :  Utamaro  ga. 

563.  A  FISHING  PARTY  ON  THE  SUMIDA  RIVER  AT 
NIGHT. 

About  1804yCh‘  Signed:  Utamaro  hitsu-  No  publisher’s  mark. 


—11s— 


TOSHUSAI  SHARAKU 


TOSHUSA1  SHARAKU 

The  eccentric  artist  who  used  the  brush  name  of  Toshusai 
Sharaku  was  a  dancer  of  the  stately  and  aristocratic  No,  in  the  service 
of  Hachisuka,  Daimyo  of  Awa.  His  true  name  was  Saito  Jirobei. 
For  a  year  or  two  only,  about  1794  he  designed  the  remarkable  por¬ 
traits  of  actors  in  character  which  are  justly  counted  as  among  the 
greatest  achievements  in  all  Ukiyoe.  On  first  acquaintance  with 
these  prints  the  brutal  frankness  of  the  conventions  employed  may  be 
repellant;  nevertheless  the  treatment  is  extremely  subtle,  and  it  does 
not  take  long  to  realize  that  these  pungent,  vital  presentations  are  in 
truth  portraits  and  works  of  art  such  as  only  genius  of  a  high  order 
could  produce. 


EIGHT  PORTRAITS  OF  ACTORS. 

Oban.  Signed:  Toshusai  Sharaku  ga.  Publisher:  Tsuta-ya. 
About  1794. 

564.  ICHIKAWA  EBIZO  IN  THE  ROLE  OF  KO  NO  MO- 
RONAO. 


565.  MATSUMOTO  KOSHIRO  AS  THE  OTOKODATE 
BANZUIN  CHOBEI. 


566.  ICHIKAWA  YAOZO. 

567.  ARASHI  TATSUZO. 


568.  OTANI  TOKUJI  AS  AN  OTOKODATE. 

569.  SAWAMURA  SOJURO  IN  THE  ROLE  OF  ENYA 
HANGUWAN. 


570.  SAWAMURA  SOJURO  AND  THE  THIRD  SEGAWA 
KIKUNOJO. 

571.  OTANI  TOKUJI  AND  ICHIKAWA  OMEZO. 


—119— 


TOSHUSAI  SHARAKU 


572.  ICHIKAWA  OMEZO  AS  A  SAMURAI  CARRYING  AN 
ODAWARA  LANTERN. 

Hosoe.  Signed:  Toshusai.  No  publisher’s  mark. 


573.  SEGAWA  KIKUNOJO  IN  A  FEMALE  ROLE. 

Hosoe.  Signed:  Toshusai  Sharaku  ga.  Publisher:  Tsuta-ya. 
About  1794. 


574.  NAKAYAMA  KUMETARO  IN  THE  ROLE  OF  ONOE 
IN  THE  DRAMA:  “KAGAMIYAMA  KIU  NO 
NISHIKIYE.” 

Hosoe.  Signed:  Toshusai  Sharaku  ga.  Publisher:  Tsuta-ya. 
About  1794. 


575.  IWAI  HANSHIRO  AS  A  JUNREI-OSURU  OR  WOMAN 
PILGRIM  TO  BUDDHIST  SHRINES. 

The  tablets  hung  about  her  neck  are  the  record  of  her  journeying, 
an  additional  one  being  added  at  each  shrine  visited. 


UTAGAWA  TOYOKUNI 

In  the  later  history  of  the  Ukiyoe  school  no  artist  holds  a  more 
prominent  place  than  the  first  Toyokuni.  In  his  day  he  had  immense 
vogue,  and  he  was  indeed  an  artist  of  much  ability,  but  in  addition  to 
being  carried  along  on  the  ebb-tide  of  the  decadence  that  was  in  full 
movement  during  the  closing  years  of  the  eighteenth  century  the 
great  popularity  of  his  prints  led  to  the  publication  of  works  upon 
which  comparatively  little  time  was  expended,  and  to  a  gradual  but 
steady  deterioration  in  their  artistic  qualities.  His  early  works  in 
which  the  influence  of  Kiyonaga  and  of  Eishi  may  be  traced  are  by 
far  his  best.  Many  of  them  are  very  beautiful,  charming  in  colour 
and  engraved  and  printed  with  great  care.  He  was  the  originator  of 
a  new  style  of  actor  prints,  highly  appreciated  by  the  devotees  of  the 
theatre  for  their  realistic  characterizations.  Toyokuni’s  personal  name 
was  Gorobei  Kumakichi.  He  was  the  son,  born  in  1769,  of  Gorobei 
Kurashashi,  a  carver  of  wooden  images,  who  lived  in  Edo,  in  the 
quarter  known  as  Shiba.  He  first  studied  under  Utagawa  Toyoharu 
and  afterward  he  became  a  pupil  of  Utagawa  Toyoharu  and  still 
later  is  said  to  have  had  Shunyei  for  a  master.  He  died  on  the  7th 


—120— 


UTAGAWA  TOYOKUNI 


of  the  first  month  of  Bunsei  8  (February  24,  1825)  and  it  is  said  that 
when  he  was  buried  some  500  or  600  of  his  drawings  were  placed  in 
the  grave  with  his  body.  A  monument  in  the  Temple  of  Koun  at 
Mita  Hijirizaka  was  erected  to  his  memory. 


<576  SCENE  FROM  A  DRAMA:  ONOE  MATSUSUKE  AS 
THE  GHOST  OF  IWOHATA:  MATSUMOTO 
KOJIRO  AS  IYENUSHI  MOKUEMON. 

Oban.  Signed :  Toyokuni  ga.  Publisher’s  mark  not  identified. 


THREE  PRINTS  OF  THE  SERIES:  YAKUSHA  BUTAI 
SUGATA. 

Oban.  Signed:  Toykuni  ga.  Publisher:  Izumi-ya. 

577.  THE  ACTOR  BANDO  MITSUGORO  AS  A  MAN 
DRAWING  A  SWORD. 

578.  THE  THIRD  SEGAWA  KIKUNOJO  IN  A  FEMALE 
ROLE. 

579.  IWAI  HANSHIRO  AS  YAMATOYA. 


580.  A  WINDY  DAY  UNDER  THE  CHERRY  TREES. 

Oban  triptych.  Signed :  Toykuni  ga.  Publisher :  Izumi-ya. 

581.  SEVEN  WOMEN  IN  A  BAMBOO  GROVE. 

Oban  triptych.  Signed:  Toyokuni  ga.  Publisher:  \amada-ya. 


KATSUSHIKA  HOKUSAI 

Among  all  the  artists  of  Japan  none  is  more  widely  known  than 
Hokusai.  His  renown  is  world  wide  and  his  place  among  the  im¬ 
mortals  universally  conceded.  To  tell  in  the  most  compact  form  the 
story  of  his  life  and  to  describe  his  work,  which  was  of  almost  incon¬ 
ceivable  variety,  would  require  a  large  volume.  Here  it  seems  neces- 


—121— 


KATSUSHIKA  HOKUSAI 


sary  to  state  only  that  he  was  born  in  Edo  in  the  gth  month  of  the 
ioth  year  of  Horeki  (1760)  and  was  probably  the  son  of  a  mirror 
maker  named  Nakajima  Issai.  He  was  first  employed  in  a  book  shop, 
then  for  about  ten  years  he  worked  at  the  art  of  wood  engraving.  At 
the  age  of  eighteen  he  became  a  pupil  of  Katsukawa  Shunsho  and  his 
earliest  works  were  signed  Shunro.  This  was  the  first  of  many 
pseudonyms.  He  did  not  long  remain  in  Shunsho’s  studio,  from  which 
it  is  said  he  was  expelled  for  insubordination.  He  then  entered  upon 
an  independent  career,  studying  the  styles  of  many  eminent  artists, 
ancient  and  modern,  and  drawing  assiduously  everything  that  he  saw 
or  dreamed.  After  a  life  of  extraordinary  activity  he  passed  away  in 
the  spring  of  1849  at  the  age  of  89. 

582.  THE  ACTOR  ICHIKAWA  OMEZO  IN  A  FEMALE 
ROLE. 

Hosoe.  Signed:  Shunro  ga.  Publisher:  Tsuta-ya.  About  1794. 

An  interesting  early  print  in  the  style  of  Sharaku. 


SIX  PRINTS  FORMING  THE  SIX  FAMOUS  POETS 
SERIES. 

Oban.  Signed :  Katsushika  Hokusai  ga.  Publisher :  Ezaki-ya. 

583.  BUNYA  NO  YASUHIDE. 

584.  OTOMO  NO  KURONUSHI. 

585.  ARIWARA  NO  NARIHIRA  ASON. 

586.  SOJO  HENJO. 

587.  ONO  NO  KOMACHI. 

588.  RISEN  HOSHI. 

589.  TRAVELLERS  ON  A  HIGHWAY  BY  THE  SEA. 

Yokoye.  Surimono  cut  down.  Not  signed,  but  signature  probably 
cut  off. 


KATSUSHIKA  HOKUSAI 


590.  VISITORS  TO  A  TEMPLE  TO  INARI  THE  SO- 
CALLED  RICE  GOD. 

Long  surimono.  Signed :  Sori  ga. 

591.  TWO  WOMEN  AND  A  BOY  CROSSING  A  FOOT¬ 
BRIDGE  LEADING  TO  A  TEMPLE. 

Long  surimono.  Not  signed.  Signature  probably  trimmed  off  at 
the  right. 

592.  WOMEN  REELING  COTTON  IN  A  FIELD  NEAR  A 
POND  AT  THE  EDGE  OF  WHICH  IRIS  AND  NADE- 
SHIKO  (A  KIND  OF  PINK)  ARE  GROWING. 

Long  surimono.  Signed :  Hokusai  ga. 

593.  NARIHIRA  AND  HIS  ATTENDANTS  HALTING 
WHILE  ONE  OF  HIS  MEN  CLIMBS  A  BLOSSOMING 
PLUM  TREE  TO  BREAK  OFF  A  BRANCH. 

Yokoye  surimono.  Signed:  Sori  Hokusai  ga. 

594.  DYERS  HANGING  UP  FRESHLY  DIPPED  COTTON 
CLOTH  TO  DRY  IN  THE  SUNSHINE. 

Long  surimono.  Signed:  Sori  Gakyo-j in  Hokusai  ga. 

595.  GROUP  AT  THE  ENTRANCE  TO  A  SHINTO  TEM¬ 
PLE  IN  THE  TIME  OF  THE  CHERRY  BLOSSOM¬ 
ING. 

Long  surimono,  cut  down.  Not  signed.  Signature  probably  trimmed 
off. 


596.  THE  FAMOUS  SWORDSMITH  MASAMUNE  FORG¬ 
ING  A  SWORD  WITH  THE  AID  OF  A  SUPER¬ 
NATURAL  VISITOR. 

Long  surimono.  Signed:  Gakyo-j  in  Hokusai  ga. 

597.  WAYFARERS  CROSSING  A  RIVER  ON  A  FERRY 
BOAT. 

Long  surimono.  Signed  :  Katsushika  Hokusai  ga. 

The  man  in  the  middle  of  the  boat  is  a  street  vendor  of  dumplings. 
The  dumplings  are  carried  by  running  sticks  through  them  and  then 
sticking  these  in  the  cushion  on  the  end  of  a  bamboo  pole. 


—123— 


KATSUSHIKA  HOKUSAI 

FOUR  BIRD  AND  FLOWER  PRINTS. 

Chuban.  Signed:  Zen  Hokusai  Tameichi  hitsu.  Publisher :  Eijudo. 

598.  BUNCHO  AND  MAGNOLIA. 

599-  GROSBEAK  AND  MARVEL  OF  PERU. 

600.  KANARI  AND  SHAKUYAKU  (A  KIND  OF  PEONY). 

601.  BULLFINCH  AND  WEEPING  CHERRY. 


EIGHT  PRINTS  OF  THE  LARGE  FLOWER  SERIES. 

Yokoye.  Signed,  except  the  eighth  print  which  is  without  signa¬ 
ture:  Zen  Hokusai  Tameichi  hitsu.  Publisher:  Eijudo. 

602.  CHRYSANTHEMUMS  AND  BEE. 

603.  PEONIES  AND  BUTTERFLY. 

604.  MORNING  GLORIES  AND  TREE  TOAD. 

605.  FUYO  AND  SPARROW. 

606.  ORANGE  ORCHID. 

607.  ORIENTAL  POPPIES. 

608.  LILIES. 

609.  POPPIES  AND  BUTTERFLY. 


610.  MANDARIN  DUCK  AND  DRAKE. 

Double  page  from  the  “Shashin  Gafu,”  published  in  1814.  Not 
signed. 


—124— 


KATSUSHIKA  HOKUSAI 


THIRTY-SIX  PRINTS  OF  THE  SERIES  “THIRTY- 
SIX  VIEWS  OF  FUJI.” 

Yokoye.  Signed:  Zen  Hokusai  Tameichi  hitsu.  Publisher:  Eijudo. 

Originally  this  series  consisted  of  thirty-six  prints,  but  after  the 
series  was  completed  ten  supplementary  prints  were  added. 


61 1.  VIEW  FROM  NIHON  BASHI,  EDO. 

612.  FUJI  SEEN  FROM  HONGWANJI  TEMPLE,  ASA- 
KUSA,  EDO. 

613.  VIEW  OF  FUJI  FROM  TATEKAWA,  HONJO,  EDO. 

614.  VIEW  FROM  SHIMA  MEGURO,  EDO. 

615.  FUJI  SEEN  FROM  THE  MITSUI  DRY-GOODS  SHOP, 
EDO. 

616.  RYOGOKU  BRIDGE,  EDO:  FUJI  IN  THE  DIS¬ 
TANCE. 

617.  VIEW  FROM  EDO  BAY  OFF  TSUKUDA  ISLAND. 

618.  FUJI  SEEN  FROM  THE  HALL  OF  THE  FIVE-HUN¬ 
DRED  RAKAN,  EDO. 

619.  FUJI  SEEN  FROM  SURUGA-DAI,  EDO. 

620.  FUJI  SEEN  BENEATH  MONNEN  BRIDGE,  EDO. 

621.  THROUGH  THE  WINDOW  OF  THE  FUJI  VIEW 
TEA-HOUSE  AT  YOSHIDA. 

622.  VIEW  FROM  GOTENYAMA. 

623.  FUJI  SEEN  FROM  KOISHIKAWA  AFTER  A  SNOW 
FALL. 

624.  FUJI  SEEN  FROM  ENOSHIMA. 


—125— 


KATSUSHIKA  HOKUSAI 


625.  VIEW  OF  FUJI  FROM  MISHIMA  IN  KAHI  PROV¬ 
INCE. 

626.  FROM  THE  MOUNTAINS  IN  THE  PROVINCE  OF 
TOTOMI. 

627.  FUJI  SEEN  FROM  HAKONE  LAKE. 

628.  FUJI,  FROM  HODOGAYA  ON  THE  TOKAIDO. 

629.  VIEW  OF  FUJI  FROM  HANAMACHI  IN  SENJU. 

630.  VIEW  OF  FUJI  FROM  THE  SEA  AT  TAGO-NO-URA. 

631.  FUJI  SEEN  FROM  THE  OME  PASS. 

632.  FROM  SEVEN-RI  BEACH  IN  SOSHU. 

633.  FROM  LAKE  SUWA  IN  SUNSHU. 

634-  FROM  THE  WATER  MILL  AT  ONDA. 

635.  FROM  NAKAHARA  IN  SOSHU. 

636  KURASEEN  FR°M  A  TEA  plantaTION  AT  KATA- 

637.  FROM  UMEZAWA  IN  SOSHU. 

638.  THE  ROUND  PINE  TREE  AT  AOYAMA:  FUTI  IN 
THE  DISTANCE. 

639.  FUJI  SEEN  BENEATH  A  TORII  AT  TODO-NU-URA. 

640.  VIEW  OF  FUJI  FROM  ONOSHINDEN. 

641.  FUJI  SEEN  FROM  USHIBORI  IN  SUNSHU. 

642.  VIEW  FROM  SENJU,  PROVINCE  OF  BUSHU. 


—126— 


SHARAICU 

No.  572.  The  actor  Ichikawa  Omezo 


KATSUSHIKA  HOKUSAI 


643.  VIEW  OF  FUJI  FROM  HODOGAYA. 


644.  FUJI  SEEN  BENEATH  A  WAVE  OF  THE  SEA  AT 
KANAGAWA. 


645.  THE  WHITE  CAP  OF  FUJI:  THUNDERSTORM 
BELOW. 


646.  FUJI  IN  FAIR  WEATHER  WITH  A  GENTLE 
BREEZE. 


ANDO  HIROSHIGE 


The  last  great  name  in  the  history  of  the  Ukiyo-e  school  is  that  of 
Hiroshige,  the  consummate  master  of  landscape  art.  His  true  name 
was  Ando  Tokitaro.  He  was  born  in  1797,  and  at  the  age  of  fifteen, 
having  failed  to  get  into  the  crowded  studio  of  Toyokuni,  he  became 
a  pupil  of  Toyohiro.  For  the  world  this  may  be  regarded  as  a  fortu¬ 
nate  circumstance.  From  his  master  Toyohiro  he  obtained  the  name 
Ichiyusai  (profoundly  deep).  This  when  growing  popularity  made 
his  fame  secure  and  gave  him  confidence  in  his  power,  he  changed  to 
Ichiryusai  (one  standing  alone).  After  a  life  full  of  activity  he  died 
on  the  6th  day  of  the  9th  month  of  Ansei  5  (1858)  and  was  buried  in 
Togaku  Temple,  Shinteramachi,  Asakusa,  Yedo.  He  designed  an 
extraordinary  number  of  prints,  and  many  of  these  were  issued  in 
successive  editions  until  the  blocks  were  entirely  worn  out.  Ordinary 
impressions  are  abundant,  but  choice  early  ones  in  fine  condition  are 
very  rare. 

647.  THE  EBISU  FETE  AT  THE  VILLAGE  OF  IMAMIYA. 

Yokoye.  Series :  Naniwa  Meisho.  Signed :  Hiroshige  ga.  Pub¬ 
lisher:  Eisendo. 

648.  THE  NIGHT  BOAT  ON  THE  YODO  RIVER. 

Yokoye.  Series:  Kyoto  Meisho.  Signed:  Hiroshige  ga.  Pub¬ 
lisher  :  Eisendo. 


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ANDO  HIROSHIGE 


FOUR  PRINTS  FROM  THE  “SIXTY-NINE  POST 
STATIONS  OF  THE  KISOKAIDO”  SERIES. 

Yokoye.  Signed:  Hiroshige  ga.  Publisher:  Iseri. 

649.  the  inspection  gate,  fukushima  station. 

650.  MIYANOKOSHI  STATION;  PEASANTS  GOING 
HOME  BY  MOONLIGHT. 

Justly  celebrated  as  one  of  Hiroshige’s  masterpieces. 


651.  MOCHIZUKI  STATION:  MOONLIGHT  VIEW. 

652.  SHIONADA  STATION. 


FOUR  PRINTS  OF  THE  “EDO  KINKO  HAKKEI” 
SERIES. 

Yokoye.  Signed:  Hiroshige  ga.  Publisher:  Sanoki. 

653-  HANEDA  NO  RAKU  GAN  (GEESE  FLYING  DOWN 
AT  HANEDA). 

654-  ASUKA  YAMA  NO  BOSETSU  (EVENING  SNOW  ON 
ASUKA  HILL). 

655.  TAMAGAWA  AKI  NO  TSUKI  (AUTUMN  MOON 
OVER  THE  TAMA  RIVER). 

656.  AZUMASHI  YORU  AME  (NIGHT  RAIN  AT  AZU- 
MASHI). 


FIVE  PRINTS  OF  THE  “TOTO  MEISHO”  SERIES. 

Yokoye.  Signed:  Hiroshige  ga.  Publisher:  Sanoki. 

657.  NIHON  BASHI  NO  SHIRA  SAME  (WHITE  RAIN  AT 
NIHON  BRIDGE). 

658.  VIEW  OF  AKABANE,  SHIBA,  IN  SNOW. 

The  long  building  at  the  right  is  an  army  barracks. 


—128— 


ANDO  HIROSHIGE 


659.  ASAKUSA,  KINRYUSAN,  TOSHI  NO-ICHI  GUN-JU 
(THE  YEARLY  FESTIVAL  BEFORE  NEW  YEARS, 
AT  KINRYUSAN  TEMPLE). 

660.  OJI  INARI  NO  YASHIRO  (THE  SHINTO  SHRINE 
TO  INARI  AT  OJI). 

661.  MEGURO  FUDO  MO-ODE  (FUDO  TEMPLE  AT 
MEGURO). 


662.  YUMI  HARI  NO  TSUKI  (THE  BOW-SHAPED 
MOON). 

Narrow  Oban.  Series:  Twenty-eight  moonlight  views.  Signed: 
Hiroshige  hitsu. 

FIVE  PRINTS  FROM  THE  SERIES  ‘“MEISHO  EDO 
HYAKKEI”  (ONE  HUNDRED  EDO  VIEWS). 

Oban.  Signed:  Hiroshige  ga.  Publisher:  Teikichiji. 

66 3.  ASUKA  YAMA,  KITA  NO  CHOBO. 

Distant  view  to  the  north  from  Asuka  hill. 


664.  SUMIDAGAWA  SUISHIN  NO  MORI. 
The  woods  of  Suishin  on  the  Sumida  river. 


665.  YOSHIWARA  NIHON  ZUTSUMI. 

The  road  to  the  Yoshiwara  along  the  embankment  of  the  Sumida 
river. 

666.  MAMA  NO  KOYO,  KOTENA  NO  YASHIRO,  TSUGI 
HASHI. 

Maple  leaves  at  Mama,  Kotena  temple,  and  Tsugi  bridge. 

667.  MEGURO  TAIKO  BASHI  YUKI  NO  KEI. 

Sunset  view  of  Taiko  bridge  in  snow. 


FIVE  PRINTS  FROM  THE  SO-CALLED  “UPRIGHT 
TOKAIDO”  SERIES. 

Oban.  Signed:  Hiroshige  ga.  Publisher:  Tsuta-ya. 


—129— 


ANDO  HIROSHIGE 


668.  HODOGAYA  STATION. 

669.  YOKAICHI  NAKO  NO  URA  MIYEGAWA. 
Yokaichi  station,  the  river  Miye,  and  view  of  the  sea. 

670.  SHONO  SHIRA-TORI-ZUKA  KO  SEKI. 

The  Shira-tori-zuka  old  trail  at  Shono. 

671.  KAMEYAMA  STATION. 

672.  SEKI  SAN  GU  MICHI  OI  WAKE. 

The  branch  road  leading  to  the  Shinto  temple  at  Seki. 


TWO  PRINTS  FROM  THE  SERIES  “ROKU-JU-YO 
SHU  MEISHO  ZU  KAI”  (VIEWS  IN  THE  SIXTY- 
ODD  PROVINCES). 

Oban.  Signed :  Hiroshige  hitsu.  Publisher :  Koshimura  Heisuke. 

673.  TSUSHIMA  KAI  GAN  YUBARI. 

Rainbow  at  Kai  beach,  Tsushima. 


674.  YAMATO  TATSUTA-YAMA  TATSUTA-GAWA. 
Mount  Tatsuta  and  the  Tatsuta  river  in  Yamato  Province. 


THREE  PRINTS  FROM  THE  “THIRTY-SIX  VIEWS 
OF  FUJI”  SERIES. 

Oban.  Signed:  Hiroshige  ga.  Publisher:  Tsuta-ya. 

675.  FUJI  SEEN  FROM  KOSHIGAYA  IN  MUSHASHI. 

676.  VIEW  OF  FUJI  FROM  YOSHIWARA  ON  THE 
TOKAIDO. 


677-  FUJI  SEEN  FROM  MIHO  NO  MATSUBARA  IN 
SURUGA. 


—130— 


ANDO  HIROSHIGE 


THREE  PRINTS  OF  THE  SERIES 
“SURIMONO  EDO  MEISHO.” 

Long  surimono.  Signed :  Hiroshige  ga. 

The  prints  of  this  series  are  the  rarest  and 
Hiroshige’s  works. 

678.  TAKEDA  BABA. 

The  horse  race-track  at  Takada. 

679.  GOTENYAMA  NO  ZU. 

Picture  of  Gotenyama. 

680.  HAGI  DERA. 

Garden  famed  for  its  hagi  (lespedeza)  flowers. 


KNOWN  AS  THE 
most  highly  prized  of 


THIRTEEN  BIRD  AND  FLOWER  PRINTS. 

681.  WHITE  EGRET  AND  BULLRUSHES. 

Narrow  panel.  Signed:  Hiroshige  hitsu.  Publisher:  Kawaguchi 
Shozo. 

682.  KINGFISHER  AND  IRIS. 

Narrow  panel.  Signed :  Hiroshige  hitsu.  Publisher :  Kawaguchi 
Shozo. 

683.  QUAIL  AND  POPPIES. 

Narrow  panel.  Signed:  Hiroshige  hitsu.  Publisher:  Kawaguchi 
Shozo. 

684.  SWALLOWS  AND  WILD  CHERRY. 

Narrow  panel.  Signed:  Hiroshige  hitsu.  Publisher:  Kawaguchi 
Shozo. 

685.  SWALLOWS  AND  WISTARIA. 

Narrow  panel.  Signed:  Hiroshige  ga.  Publisher:  Tsuta-ya. 

686.  FALCON,  PINE  AND  RISING  SUN. 

Wide  panel.  Signed:  Hiroshige  hitsu. 


—131— 


ANDO  HIROSHIGE 


687.  USO  AND  CAMELLIA. 

Wide  panel.  Signed:  Hiroshige  hitsu. 

688.  SWALLOWS,  PEACH  BLOSSOMS  AND  MOON. 

Wide  panel.  Signed :  Hiroshige  hitsu. 

689.  PHEASANT  AND  YOUNG  PINES  ON  A  STEEP 
HILLSIDE. 

Wide  panel.  Signed:  Hiroshige  hitsu. 

690.  BIRD  AND  WILD  CHERRY. 

Wide  panel.  Signed:  Hiroshige  hitsu.  Publisher:  Wakasa-ya. 

691.  TWO  BIRDS  AND  AUTUMN  MAPLE. 

Yokoye.  Signed:  Hiroshige  hitsu.  Publisher:  Sanoki. 

692.  SWALLOWS  AND  CAMELLIA  IN  SNOW. 

Wide  panel.  Signed:  Hiroshige  hitsu.  Second,  and  best  edition. 
Publisher :  Sanoki. 

693.  GEESE. 

Long  surimono.  Signed :  Hiroshige  hitsu. 


694-  THE  SARUBASHI  (MONKEY  BRIDGE)  IN  THE 
PROVINCE  OF  KOSHU. 

Kakemono-ye.  Signed :  Hiroshige  hitsu.  Stamp :  Ichiryusai.  Pub¬ 
lisher  :  Tsuta-ya. 


KEISAI  EISEN 

Ikeda  Zenjiro  Yoshinobu,  whose  artist  name  was  Keisai  Eisen, 
was  born  in  Yedo  in  1791  and  died  in  1848.  He  was  one  of  the 
leading  artists  of  his  day.  Of  his  works,  which,  in  subject,  cover  a 
wide  range,  the  landscapes,  after  the  manner  of  Hiroshige,  are  the 
most  notable. 

695-  LANDSCAPE. 

Kakemono-ye.  Signed :  Keisai.  Publisher :  Eikyudo. 


132— 


UTAGAWA  KUNISADA 


UTAGAWA  KUNISADA 

Kunisada  was  one  of  the  best  of  Toyokuni’s  pupils  and  in  1844 
he  took  the  name  of  Toyokuni  the  second.  What  Kunisada  might  have 
done  had  he  been  born  fifty  years  earlier  than  the  time  when  he  came 
into  the  world  can  only  be  conjectured.  He  was  a  man  of  ability  but 
it  was  his  lot  to  live  in  a  period  when  popular  taste  was  at  its  lowest 
and  after  his  earliest  years  he  rarely  attempted  anything  but  the  veriest 
pot-boilers.  The  print  here  exhibited  shows  the  result  of  one  of  these 
rare  attempts  at  something  better. 

696.  MOMIJI  GARI  NO  ZU  (PICTURE  OF  MAPLE  TREE 
VIEWING). 

Yokoye.  Signed:  Kochoro  Kunisada  ga.  Publisher:  Yamaguchi- 
ya. 


— 133 — 


